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MT llsillMTMl""" """^
Bach's chorals /
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BACH'S CHORALS
PART I
THE HYMNS AND HYMN MELODIES OF
THE "PASSIONS" AND ORATORIOS
"A little volume on the sources of the Chorales, the
utility of which is out of all proportion to its modest bulk."
— Mr Ernest Newman in the Birmingham Post.
"An invaluable work of reference." — Guardian.
" A great mass of interesting information, collected from
all available sources, and brought together for the first time
in this convenient form." — Yorkshire Post.
" This useful work of reference." — Musical Times.
"The result of an extensive amount of research and
erudition." — Standard.
" A careful piece of musical archaeological enquiry, done
with thoroughness and care." — Scotsman.
" A scholarly piece of work." — Oxford Magazine.
" An invaluable volume of reference, and as such it will
quickly become a standard work." — Music Student.
"A perfect storehouse of information." — Musical News.
PART III
THE CHORALS OF THE ORGAN
WORKS
{In the Press)
BACH'S CHORALS
CAMBRIDGE UNIVERSITY PRESS
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Ai/ rights reserved
BACH'S CHORALS
BY
CHARLES SANFORD TERRY
PART II
THE HYMNS AND HYMN
MELODIES
OF THE
CANTATAS AND MOTETTS
Cambridge :
at the University Press
1917
PREFATORY NOTE
IN Part I of this work the Hymns and Hymn
melodies of the " Passions " and Oratorios
have been dealt with. In the present volume those
of the Cantatas and Motetts are considered. The
Hymn melodies of the Organ Works are reserved
for Part HI.
The author approaches the Chorals from the
historical rather than an aesthetic standpoint.
His object is to reveal the origin and authorship
of the Hymns and Hymn melodies which, like
jewels, decorate Bach's concerted Church music.
The melodies are printed here in their earliest
form and, where possible, Bach's variations of them
are traced to an earlier tradition or attributed to
himself In similar manner, the text of his Hymn
stanzas, as printed by the Bachgesellschaft, has been
collated with the originals in Philipp Wackernagel's
Das deutsche Kirclunlied von der dltesten Zeit bis
zu Anfang des XVII Jahrhunderts (Leipzig, 5 vols.
VI
1864-77) o"" Albert Fischer and W. Tiimpel's Das
deutsche evangelische Kirchenlied des siebzehnten
/akrkunderts (Giitersloh, 1904-16). The few Hymns
which are not in those collections are marked with
an asterisk in the following pages. The author
has not had the opportunity to examine their
original texts elsewhere.
For the help of students and others the author,
on the first occurrence of every Choral melody,
states where Bach uses it elsewhere in his concerted
Church music and Organ works\ Thus, Bach's
treatment of a particular tune can be studied ex-
haustively.
Since all but a few of the Cantatas are published
only with German texts, it has seemed advisable to
provide an Appendix of translations of the Hymn
stanzas, upwards of two hundred and fifty in number,
which Bach uses in the Cantatas and Motetts.
Wherever it is available, the text of Novello & Co.'s
and Messrs J. & W. Chester's Editions has been
used, with the permission of the two firms. ,
Six melodies that occur in the " Passions '' and
Oratorios are not found in the Cantatas or Motetts.
They are printed in an Appendix. This volume
therefore contains all the Choral tunes used by Bach
in his concerted Church music.
' The references throughout are to Novello's Edition of Bach's
Organ Works, Books xv-xix.
VII
In the Introduction, besides other topics relative
to the subject of this work, there will be found a
section on Bach's original Hymn tunes. The
subject is one which hitherto has not received
adequate attention. Schweitzer does not deal with
it, and Spitta's chapter is unreliable.
The author thanks the Rev. James Mearns,
Mr Herbert Thompson, Mr Ernest Newman, and
especially Mr Ivor Atkins, for the valuable help
they have given him. He also acknowledges
material aid from the Carnegie Trust for the Uni-
versities of Scotland towards the publication of
this work.
C. S. T.
King's College,
Old Aberdeen.
January, 191 7-
CONTENTS
Cantatas.
Prefatory Note
Introduction
Tke Cantatas '
The Choral Cantatas
The Choral Fantasia
The Simple Choral
The Embellished Choral
The Extended Choral
The Unison Choral
The Aria Choral .
The Dialopfus Choral
The Motetts .
The Hymns of the "Passions," Oratorios,
and Motetts.
The Hymn Tunes used by Bach
Bach's original Hymn Tunes
The Cantatas ....
The Unfinished Cantatas
The Cantatas of Doubtful Authenticity
The Motetts ....
Appendix I. Hymn Melodies that occur in the
" Passions " and Oratorios, but are not found in
the Cantatas and Motetts
Appendix II. Translations . . . .
Appendix III. The Original Texts of Bach's Ora-
torios, " Passions," Masses, Cantatas, and Motetts
I
I
26
35
37
38
40
41
41
42
44
46
S6
67
129
477
479
483
491
497
573
MELODIES
A solis ortus cardine (1537)
Ach Gott und Herr (1625 & 1655)
Ach Gott, vom Himmel sieh darein (1524)
Ach wie fluchtig (1652 & 1661) .
Ainsi qu'on oit le cerf bruire (1542) .
AUe Menschen miissen sterben (1652 & 1715)
Allein Gott in der Hoh' sei Ehr' (1539)
AUein zu dir, Herr Jesu Christ {c. 1541 & 1545)
Also hat Gott die Welt geliebt (1682)
Auf meinen lieben Gott (1609)
Aus tiefer Noth schrei ich zu dir (1524) .
Bleiches Antlitz, sei gegriisset (1686) .
Christ ist erstanden (1535) ....
Christ lag in Todesbanden (1524)
Christ unser Herr zum Jordan kam (1524)
Christe, du Lamm Gottes (1557).
Christum wir soUen loben schon (1524)
Christus, der ist mein Leben (1609) .
Christus, der uns selig macht (1531 & 1598)
Da Christus geboren war (1544) .
Danket dem Herrn, heut und allzeit (1594)
Das neugebor'ne Kindelein (1609)
Die WoUust dieser Welt (1679) .
Dies sind die heil'gen zehn Gebot" (1524) .
Du Friedefurst,. Herr Jesu Christ (1601)
Du, O schones Weltgebaude (1649) .
Durch Adams Fall ist ganz verderbt (1535)
Ein Kind geborn zu Bethlehem (1543 & 1553)
Ein' feste Burg (1535) ■
Einen guten Kampf hab' ich (1713) .
Erhalt' uns, Herr, bei deinem Wort (1543)
PAGE
• 367
• 237
• 132
• 193
. 164
434, 435
■ 30s
. 205
269
. 142
. 213
. 2lg
. 265
137, 138
■ 149
. 188
. 368
' 326
• 491
• 46s
■ 145
• 369
• 231
. 287
. 268
■ 24s
. 178
261, 262
• 297
. 2l8
■ 147
PAGE
Ermuntre dich, mein schwacher Geist (1641) . . 158
Erschienen ist der herrlich' Tag (1560) . . 266
Erstanden ist der heil'ge Christ (1555) . . . 267
Es ist das Heil uns kommen her (1524) . . -154
Es ist genug (1662) 253
Es sind doch selig alle (1525) 492
Es woU' uns Gott genadig sein (1525) ■ • .271
Freuet euch, ihr Christen alle (1646) .... 220
Gelobet seist du, Jesu Christ (1524) .... 257
Gieb unsem Fiirsten (1566) 226
Gloria in excelsis Deo (1545) 305
Gott des Himmels und der Erden (1642 & 1687) . 493
Grates nunc omnes reddamus (1524) .... 257
Hast du denn, Liebster, dein Angesicht (1665) . . 247
Helft mir Gott's Gtite preisen (1575 [1569]) . . 160
Herr Christ, der einig' Gott's Sohn (1524). . . 186
Herr Gott dich loben wir (1535) . . 173, 365, 366
Herr, ich habe missgehandelt (1649) .... 435
Herr Jesu Christ, du hochstes Gut (1593) • . ■ 239
Herr, wie du willt, so Schick's mit mir (1525) . . 426
Herzlich lieb hab' ich dich, O Herr (1577) . . 417
Herzlich thut mich verlangen (1601) .... 395
Herzliebster Jesu, was hast du verbrochen (1640) . 494
Hilf mir, Herr Jesu, weil ich leb' (1602) . . . 134
Ich dank' dir, lieber Herre (1662) .... 212
Ich freue mich in dir {c. 1735) .... 391, 392
Ich hab' mein Sach' Gott heimgestellt (1609) . . 344
Ich hort ein Fraulein klagen (1549) .... 186
Ich ruf zu dir, Herr Jesu Christ (1535) . . .451
Ich weiss mir ein Roslein hiibsch und fein (1589) . 343
II n'y a icy celluy {c. 1551) 385
In dich hab' ich gehoffet, Herr (1581) . . .242
In Gottes Namen fahren wir (1536) .... 287
Ist Gott mein Schild und Helfersmann (1694) . . 307
Jesu, der du meine Seele (1641) 434
Xll
PAGE
Jesu Kreuz, Leiden und Pein (1609) .... 431
Jesu, meine Freude (1653) 260
Jesu, nun sei gepreiset (1591) 222
Jesus, meine Zuversicht (1653) 412
iKomm, Gott Schopfer, heiliger Geist (1524 & 1535). 479
Komm, heiliger Geist, Herre Gott (1535) • • • 250
Komm, Jesu, komm 489
Kommt her zu mir, spricht Gottes Sohn (1530) . 283
Liebster Gott, wann werd' ich sterben (1713) • ■ 151
Liebster Immanuel, Herzog der Frommen (1679) . 372
Lob' Gott getrost mit Singen (1544) .... 211
Lobt Gott, ihr Christen alle gleich (1554) • • • 419
Mach's mit mir, Gott, nach deiner Giit' (1628) . . 402
Meine Hoffnung stehet feste (1680) .... 218
Meinen Jesum lass' ich nicht (1659) .... 274
Mit Fried' und Freud' ich fahr' dahin (1524) . . 302
Nun bitten wir den heiligen Geist (1524) . . . 445
Nun danket alle Gott (1648) 293
Nun freut euch, lieben Christen g'mein (1535) . . 277
Nun komm, der Heiden Heiland (1524) . . . 208
Nun lasst uns Gott dem Herren (1575 & 1587) . 295
Nun lob', mein' Seel', den Herren (1540) . . . 175
O Ewigkeit, du Donnerwort (1653) . . . .181
O Gott, du frommer Gott (1693) . . .190
O grosser Gott von Macht (1632) .... 233
O Herre Gott, dein gottlich Wort (1527) . . .462
O Jesu Christ, mein's Lebens Licht (1625) . 134
O Lamm Gottes unschuldig (1542 & 1545) . . 495
O stilles Gottes Lamm (1738) . . . . 392
O Welt, ich muss dich lassen (1539) .... 167
On a beau son maison bastir (1551) . . . . 379
Or sus, serviteurs du Seigneur (1551) . . . 385
Puer natus in Bethlehem (1543 & 1553) • ■ 261, 262
Schmiicke dich, O liebe Seele (1649) .... 457
Schonster Immanuel, Herzog der Frommen (1698) . 372
XUl
PAGE
Singen wir aus Herzensgrund (1589) .... 466
Straf mich nicht in deinem Zorn (1694) . . . 359
Valet will ich dir geben (1614) 328
Vater unser im Himmelreich (1539) .... 312
Veni "Redemptor gentium (1531) . . . . 208
Venus du und dein Kind (1574) 142
Verleih' uns Frieden gnadiglich (1535) . . . 226
Vom Himmel hoch da komm ich her (1539) • • 496
Von Gott will ich nicht lassen (1572 [1571]) . • iS9
Wach auf, mein Geist (1642) 181
Wachet auf, ruft uns die Stimme (1599) .. . ■ 404
Wachet doch, erwacht, ihr Schlafer (1662) . . 290
War' Gott nicht mit uns diese Zeit (1524). . 169
Warum betriibst du dich, mein Herz (1565) . . 235
Warum soUt' ich mich denn gramen (1666 & 1713) . 487
Was Gott thut, das ist wohlgethan (1690) . . .162
Was mein Gott will, das g'scheh' allzeit (1572 [1571]) 263
Was willst du dich betriiben (1704) .... 346
Welt, ade ! ich bin dein miide (1682) . . . 196
Wenn mein Stiindlein vorhanden ist (1569) . 171
Wer nur den lieben Gott lasst walten (1657) . . 184
Werde munter, mein- Gemiithe (1642). . . . 244
Wie schon leuchtet der Morgenstern (1599) . .129
Wir Christenleut' (1593) 216
Wo Gott der Herr nicht bei uns halt (1535) . . 280
Wo soil ich fliehen hin (1679) 438
Index 585
i8 n. 2\
27 n. if
PART I
ADDENDA AND ERRATA
PAGE
vi U. lo-ii. Delete which... century.
1. 13. .fiir Johann Crliger ?-«arf Paul Wagner,
viii 1. 10. The melody " In dich hab' ich gehoffet, Herr," in
the Orgelbiichkin is not the one used by Bach
elsewhere.
II n. 1,1. Bach's lines are found in the 1644 edition of Heer-
maiui's Devoti Musica Cordis.
13 1. 8. For of read in.
Bach's line conforms to the 1653 edition of the
Praxis Pietatis Melica.
22 n. I. For Weltgenrichte read Weltgewichte. In the
second' line of the second stanza of Gerhardt's
Hymn the edition of 1656 Aim Dafur_/6?'Vordem.
31 No. 15. In the second line of the eighth stanza of Heermann's
Hymn the original (1630) text has solche^/^*- diese.
The third line, as Bach sets it, follows the 1644
text of Heermann's Hymns more closely. In the
ninth stanza, line 2, the original (1630) text has
Erbannung_/o?- Erbarmen.
42 No. 7. The melody, "Gelobet seist du, Jesu Christ," is
derived from that of the Latin sequence, " Grates
nunc omnes reddamus."
43 11. I. For nun read in.
52. In the second line of Runge's stanza the original
(1653) text has Itzt/or Dass.
55. In the last line of Rist's stanza the original (1642)
text has Jesus Jbr Jesu.
S8. In the last line but one of Franck's stanza the
original (1674) text has denselben /or dieselbe,
and in the last line es /or sie.
62 1. 12. /''or Eucharistic ««(/ Ascensiontide.
INTRODUCTION
The Cantatas
There is early and adequate authority for the
belief that Bach wrote five complete " year books "
of Church Cantatas, i.e. five Cantatas for every one
of the Sundays and Festivals of the ecclesiastical
year. At Leipzig fifty-nine Cantatas were required
annually^- Consequently, Bach must have written
two hundred and ninety-five Cantatas. Of that
number certainly thirty were written before he was
inducted at Leipzig as successor to Johann Kuhnau
(1667-1722) on May 31, 1723. Bach did not
write Cantatas during the last years of his life :
the latest that can be dated is " Du Friede-
fiirst, Herr Jesu Christ" (No. 116), written for
the Twenty-fifth Sunday after Trinity, November
15, 1744'. It is therefore reasonable to limit his
^ Concerted music was not sung at Leipzig during the six Sundays
of Lent and the last three of Advent. Cantatas were required on
forty-three Sundays and sixteen weekday Festivals.
2 Johann Sebastian Bach: His Work and Influence on the Music
of Germany, 1685-1750. By Philipp Spitta. Translated from the
German by Clara Bell and J. A. Fuller Maitland (3 vols., London,
1897-99), ni. 91.
T- B. C. I
2 INTRODUCTION
activity as a composer at Leipzig to twenty-one
years. On that hypothesis, he must have written
twelve or thirteen Church Cantatas every year, or
at the rate of one every months If it be remem-
bered that during the same period Bach's genius
was exceedingly productive in other forms of
musical expression, the conclusion that he was a
rapid writer hardly can be challenged, though
Spitta disputes if.
Less than seventy per cent, of Bach's Church
Cantatas survive. The set of five is complete only
for Christmas Day, New Year's Day (Feast of the
Circumcision), Whit Sunday (though one of the five
is of doubtful authenticity). Feast of the Puri-
fication of the B. V. M., and the Feast of St Michael
the Archangel (one of which is of doubtful authen-
ticity). There are four Cantatas in every case for
the Third Sunday after Epiphany, Quinquagesima,
Easter Day, Ascension Day, Sixteenth Sunday
' During his first eighteen months at Leipzig Bach wrote more
than twenty Sunday Cantatas, besides two sacred Cantatas for
special occasions. See Albert Schweitzer, J. S. Bach (translated
by Ernest Newman, 2 vols., London, 191 1), 11. 164. Bach wrote
about seventy Cantatas after 1734 (see list infra, p. 4), very
nearly half of which are assigned to the years 1735-36 (Schweitzer,
II. 328). In 1735 alone no less than twenty Cantatas werecomposed
by him (Spitta, III. 68). With the exception, perhaps, of a single
Sunday, he wrote a new Cantata for every Sunday and Festival
between Easter and Whitsuntide in that year (Ibid. III. 70).
^ Ibid. II. 349.
INTRODUCTION 3
after Trinity, and the Twenty-first Sunday after
Trinity. For no other Festival or Sunday have
more than three Cantatas survived, and most of
them have less^
Without reckoning the six Cantatas which form
the "Christmas Oratorio ^" there survive two
hundred and six Church Cantatas composed by
Bach, or attributed to him, all of which are published
by the Bachgesellschaft. Nos. 1-190 bear the
numbers assigned to theip in the volumes of the
Bachgesellschaft. Nos. 191-198, which are not
grouped in a single volume of the B. G. edition,
bear the distinguishing numbers attached to them
in vol. XX of Breitkopf & Haertel's vocal scores of
the Church Cantatas. No. 199 is published by
the Neue Bachgesellschaft. There remain three
Cantatas which are incomplete : in the following
pages they are designated U i , U 2, U 3. Finally,
there are four Cantatas of doubtful authenticity
(B. G. xli) : they are here indicated as D i, D 2,
D3, D4.
Four of the Church Cantatas (Nos. D i, D 2,
D 3, D 4) were written at dates which are not
ascertained.
' See infra, p. J.
^ The Oratorio consists of six Cantatas designed respectively for
(i) Christmas Day, (ii) Feast of St Stephen, (iii) Feast of St John
the Evangelist, (iv) New Year's Day (Circumcision), (v) Sunday
after New Year's Day, (vi) Feast of the Epiphany.
I — 2
4 INTRODUCTION
The remaining 202 Cantatas are distributed
between the five periods of Bach's career:
I. (1704-1708.) Arnstadt and Muhl-
HAUSEN Cantatas (3). Nos. 0071, 131.
II. (1708-1717.) Weimar Cantatas (23).
Nos. 18,^ 31, 59, 61, 70, 106, 132, 142, 147, ISO, 152,
iSS. 158, 160, 161, 162, 163, 182, 185, 189, 196, 199.
III. (1718-1722.) CoTHEN Cantatas (4).
Nos. 47, 134, 141, 173'.
IV. (1723-1734.) Leipzig Cantatas (100).
Nos. 4, 8,9, 12, 16, 19, 20, 22, 23^ 24, 25, 27, 28', 29,
35, 36, 37> 40, 42, 44, 46, 49, 5i, 52, 55, 56, 58, 60,
63, 64, 6s, 66, 67, 69, 72^ 73, 7S, 76, 77, 1^81, 82,
83, 84, 86, 88, 89, 93, 95, 97, 98, 99, 102, 104, los,
107, 109, 112, 117, 119, 120, 129, 136, 137, 140, 144,
14s, 148. 149, 153, 154, 156, IS7, 159. 164, 165, 166,
167, 168, 169, 170, 171, 172, 174, 177, 179, 181, 184,
186, 187, 188, 190, 191, 192, 194, 19s, 198, U I, U 2,
U3^
V. (1735-1750-) Leipzig Cantatas (72).
Nos. I, 2, 3, s, 6, 7, 10, II, 13, 14, 17, 26, 30, 32,
33, 34, 38, 39. 41, 43, 45, 48, SO, 53, 54, 57, 62, 68,
74°, 78, 79, 85, 87, 90, 91, 92, 94, 96, 100, loi, 103,
' As a Cantata 1,. 1730.
^ Or late Cothen period. See Wustmann (infra, p. 5, note i),
p. 279.
' But see Ibid. p. 275. ■" But see Ibid. p. 277.
5 But see Ibid. p. 298, « But see Ibid. p. 284.
INTRODUCTION 5
I08, no, III, 113, 114, US, 116, 118, 121, 122, 123,
124, 125, 126, 127, 128, 130, 133, 13s, 138, 139,
143, 146, 151, 175, 176, 178, 180, 183, 193, 197-
It will be convenient to group the Church
Cantatas according to the seasons of the Church's
year' :
Sundays in Advent.
First {Epistle Rom. xiii. 1 1-14. Gospel St Matt.
xxi. i-ii).
36 Schwingt freudig euch empor^" ^
' A useful publication is Rudolf Wustmann's Joh. Seb. Backs
Kantateniexte im Auftrage der Neuen Bachgesellschaft (Leipzig,
I9I3)-
^ The text of the Cantata is suggested by the Epistle for the Day.
' The text of the Arias and first Chorus is by Christian Friedrich
Henrici. He was born at Stolpe in 1700, and, about the time of
Bach's appointment as organist, settled in Leipzig, where he held a
position in the Post Office, and later in the Excise. He died in
1764. In 1725 he published a "Collection of profitable thoughts
for and upon the ordinary Sundays and Holy Days" {Sammlung
Erbaulicher Gedancken, Bey und iiber die gswohnlichen Sonn- und
Fesllags-Evangelien, Leipzig). To avoid the ridicule which his
religious reflexions might arouse, Henrici adopted the pseudonym
"Picander.'' In 1728 he published a. collection of texts for Can-
tatas, the only one of the kind which he brought out : Cantaten auf
die Sonn- und Fest-Tage durch das gantze Jahr (Leipzig). In the
Preface to the volume he declares that he had been impelled to
write by the prospect of his work's deficiencies being made good
"by the loveliness of the music of our incomparable Kapellmeister
Bach." He must be regarded as the author of most of the Cantatas
Bach composed at Leipzig. But it is difficult to point absolutely to
the texts which are by him, since he published none but those in the
6 INTRODUCTION
6i Nun komm, der Heiden Heilandi' ''■ '.
62 Nun komm, der Heiden Heiland'' *.
Second. See No. 70. (£. Rom. xv. 4-13.
G. St Luke xxi. 25-36.)
Third {E. i Cor. iv. 1-5. G. St Matt. xi. 2-10).
141 Das ist je gewisslich wahr*.
Fourth^ (E. Phil, iv. 4-7. G. St John i. 19-28).
132 Bereitet die Wege, bereitet die Bahn^' ^
collection of 1728. His Cantata libretti show facility rather than
sincerity and poetic expression. His power of pictorial representa-
tion commended him to Bach, and there can be little doubt that he
put his texts together in the form in which Bach required them.
Though the list is necessarily incomplete, the following Cantatas
were either positively or probably composed to Picander's texts:
Nos. 6, 30, 36, 42, 67, 73, 84, 93, 144, 14s, 148, 156. "57. IS9. 171.
174, 188, U I. See Spitta, 11. 340 et seq. on Ficander.
' The text of the Cantata is suggested by the Epistle for the Day.
' The Cantata bears the title of the first stanza of a congregational
Hymn. See infra the section on the Cantata.
' Text by Erdmann Neumeister. He was born at Uechtritz,
near Weissenfels, in 1671, was educated at Leipzig University, and,
after holding Court appointments at Weissenfels and Sorau, was
appointed in 1715 pastor of St James' Church, Hamburg. He died
at Hamburg in 1756. He was a very prolific Hymn writer; over
650 are attributed to him. Of his Cantata texts Bach set eight.
They are Nos. 18, 24, 27, 28, 59, 61, 142, 160. On Neumeister
see Spitta, i. 470 et seq.
* The text is from a cycle of Church Cantata texts published by
the State Secretary, Johann F. Helbig, at Eisenach, in 1720.
' See also No. 147.
• The text is provided or suggested by the Gospel for the Day.
' The libretto is one of Salomo Franck's Cantata texts. He was
bom at Weimar in 1659, and, after holding public appointments at
Arnstadt and Jena, was appointed Curator of the Ducal collection
INTRODUCTION 7
Christmas Day {E. Titus ii. 11-14 or Isaiah ix. 2-7.
G. St Luke ii. 1-14).
63 Christen atzet diesen Tag'.
91 Gelobet seist du, Jesu Christ^,
no Unser Mund sei vol! Lachens^' '.
142 Uns ist ein Kind geboren*' ^> \
191 Gloria in excelsis Deo'' '.
U I Ehre sei Gott in der Hohe*- ».
Feast of St Stephen {E. Titus iii. 4-7 or Acts
vi. 8-15, vii. 51-59. G. St Luke ii. 15-^0).
40 Dazu ist erschienen der Sohn Gottes'".
of coins and medals at Weimar in 1702. He died at Weimar in
1725. He was a prolific Hymn writer, but none of his Hymns
appears among the 1 54 which Bach used for his choral works. On
the other hand, during his residence at Weimar Bach made use of
Franck's Cantata texts, two series of which were published, the first
in his Evangelisches AndacfUs-Opjfer (Weimar, 1715), and the
second in his Evangelische Sonn- und Fest-Tages Andachten
(Weimar & Jena, 1717) (see Spitta, i. 526 et seq., 569 et seq.). The
texts of the following Cantatas are by Franck: Nos. 31, 70, 72, 80,
132, 147, 152, 155, 161, 162, 163, 164, 165, 168, 185, 186, and
perhaps t2, 21, 53, 172, 182. Of these twenty-one Cantatas nine
(Nos. 12, 53, 72, 80, 164, 165, 168, 172, 186) fall within the first
Leipzig period.
' The text, Wustmann (p. 273) holds, is wrongly attributed to
Picander.
^ The Cantata bears the title of the first stanza of a congregational
Hymn. See infra the section on the Cantata.
^ Psalm cxxvi. 2. The author of the libretto is not known
(Wustmann, p. 274). Schweitzer (n. 343) attributes it to Picander.
* Isaiah ix. 6. ° Text by Neumeister.
^ Bach's authorship is contested. See Bachjahrbuch, ig\i,'p. t^t.
' The "Gloria" of the B mi. Mass.
' The text is provided or suggested by the Gospel for the Day.
. » Text by Picander. " i St John iii. 8. Text by Bach?
8 INTRODUCTION
57 Selig ist der Mann'.
121 Christum wir soUen loben schon^.
Feast of St John the Evangelist (E. Heb.
i. I-I2 or I John. G. St John i. 1-14).
64 Sehet, welch' eine Liebe'.
133 Ich freue mich in dir^.
151 Siisser Trost, mein Jesus kommt*.
Sunday after Christmas (£. Gal. iv. 1-7. G.
St Luke ii. 33-40).
28 Gottlob ! nun geht das Jahr zu Ende^
122 Das neugebor'ne Kindelein^' *.
152 Tritt auf die Giaubensbahn*.
Feast of the Circumcision (New Year's Day)
(E. Gal. ill. 23-29. G. St Luke ii. 21).
16 Herr Gott dich loben wir*' *.
41 Jesu, nun sei gepreiset".
143 Lobe den Herrn, meine Seele*' '.
171 Gott, wie dein Name, so ist auch dein Ruhm'.
190 Singet dem Herrn ein neues Lied'' '°.
' St James i. 11.
" The Cantata bears the title of the first stanza of a congregational
Hymn. See in/ra the section on the Cantata.
' I St John iii. i.
* Text probably by Bach.
^ Text by Neumeister.
« Text by Salomo Franck. The subject of the Cantata is re-
motely suggested by the Gospel for the Day. See Spitta, i. 560.
' Psalm cxlvi. i, 5, 10.
8 Psalm xlviii. 10. Text by Picander.
' Psalm cxlix.
'» Text wrongly attributed to Picander. See Wustmann, p. 297;
INTRODUCTION 9
Sunday after the Circumcision {E. i Peter
iv. 12-19. G. St Matt. ii. 13-23).
58 Ach Gott, wie manches Herzeleid'' ''• *> '.
153 Schau', lieber Gott, wie meine Feind'^' s- '.
Feast of the Epiphany {E. Isaiah Ix. i-6. G.
St Matt. ii. 1-12).
65 Sie werden aus Saba AUe kommen^-^
123 Liebster Immanuel, Herzog der Frommeni.
Sundays after the Epiphany.
First {E. Rom. xii. 1-6. G. St Luke ii. 41-52).
32 Liebster Jesu, mein Verlangen*'^
124 Meinen Jesum lass' ich nicht''°.
154 Mein liebster Jesus ist verloren^' *.
Second {E. Rom. xii. 7-16. G. St John ii. i-ii).
3 Ach Gott, wie manches Herzeleid'' '.
13 Meine Seufzer, meine Thranen^.
15s Mein Gott, wie lang', ach lange"' '*.
Third {E. Rom. xii. 17-21. G. St Matt. viii.
I-I3)-
72 Alias nur nach Gottes Willen^' K
' The Cantata bears the title of the first stanza of a congregational
Hymn. See infra the section on the Cantata.
" Wustmann (p. 276) attributes the text to Bach.
^ Isaiah Ix. 6. See the Epistle for the Day.
* The author is unknown. Perhaps Picander.
^ The text is provided or suggested by the Gospel for the Day.
* Wustmann (p. 277) supposes the authors of Nos. 81 and 154
to be identical.
' Of. Spitta, in. 84, on Bach's conventional treatment of the
Gospel subject in these Cantatas.
* Text by Salomo Franck. " Text perhaps by Bach.
10 INTRODUCTION
73 Herr, wie du willt, so Schick's mit mir'- 2. «.
1 1 1 Was mein Gott will, das g'scheh' allzeiti' *.
156 Ich steh' mit einem Fuss im Grabe'' '.
Fourth (E. Rom. xiii. 8-10. G. St Matt. viii.
23-27)-
14 War' Gott nicht mit uns diese Zeit'- *.
81 Jesus schlaft, was soil ich hoffen?*' «
Septuagesima Sunday (E. i Cor. ix. 24 — x. 5.
G. St Matt. XX. 1-16).
84 Ich bin vergniigt mit meinem Gliicke^' *• *.
92 Ich hab' in Gottes Herz und Sinn'' ^' *.
144 Nimm, was dein ist, und gehe hin*- '.
Sexagesima Sunday (E. 2 Cor. xi. 19 — xii. 9.
G. St Luke viii. 4-15).
18 Gleich wie der Regen und Schnee*' ^' ''.
126 Erhalt' uns, Herr, bei deinem Wort'' *.
181 Leichtgesinnte Flattergeiste*.
QUINQUAGESIMA (" ESTO MlHI ") (E. 1 Cor. xiii.
G. St Luke xviii. 31-43).
22 Jesus nahm zu sich die Zwdlfe*.
' The Cantata bears the title of the first stanza, of a congre-
gational Hymn. See infra the section on the Cantata.
^ Picander's asserted authorship is challenged. See Spitta, 11.
414; Wustmann, p. 277.
3 Text by Picander.
" The text is provided or suggested by the Gospel for the Day.
5 Wustmann (p. 177) supposes the authors of Nos. 81 and 154
to be identical.
* Text by Neumeister. ' Isaiah Iv. 10.
* A revision of Picander's text, pexhaps by Bach.
' Text probably by Picander.
INTRODUCTION 1 1
23 Du wahrer Gott und Davids Sohn*- 2. »3.
127 Herr Jesu Christ, wahrt Mensch und Gott'- 3. 10.
159 Sehet, wir geh'n hinauf gen Jerusalem^' *-
Palm Sunday (E. Phil. ii. 5-1 1 or i Cor. xi. 23-32.
G. St Matt. xxi. 1-9).
182 Himmelskonig, sei willkommeni' *.
Easter Day (E. i Cor. v. 6-8. G. St Mark xvi.
1-8).
4 Christ lag in Todesbanden'- '.
15 Denn du wirst meine Seele nicht in der Holle
lassen'"^
31 Der Himmel lacht, die Erde jubiliret *' '.
160 Ich weiss, dass mein Erloser lebt^' ^' ".
Easter Monday (E. Acts x. 34-41. G. St Luke
xxiv. 13-35).
6 Bleib' bei uns, denn es will Abend warden '• '".
66 Erfreut euch, ihr Herzen'*' ^K
Easter Tuesday (E. Acts xiii. 26-33. <^- St Luke
xxiv. 36-47).
134 Ein Herz, das seinen Jesum lebend weiss'' '^.
' The text is provided or suggested by the Gospel for the Day.
^ The text follows rather the version in St Matt. xx. 30-34.
' The Cantata bears the title of the first stanza of " congrega-
tional Hymn. See infra the section on the Cantata.
* Text by Picander. ^ Text probably by Salome Franck.
•■ Psalm xvi. 10. ' Text by Salomo Franck.
' Text by Neumeister. ' Job xix. 25.
"> Text perhaps by Picander.
" See Wustmann, p. 280, on the text.
'^ Wustmann (p. 281) regards the text as a reconstruction by
Bach of an earlier secular Cantata.
'3 Text perhaps by Bach.
12 INTRODUCTION
145 So du mit deinem Munde bekennest Jesum>' *. s.
158 Der Friede sei rait dir.
Sundays after Easter.
First ("Quasimodo geniti") {E. i John v. 4-10.
G. St John XX. 19-31).
42 Am Abend aber desselbigen Sabbaths^' *.
67 Halt' im Gedachtniss Jesum Christ^' *■ ^
Second ("Misericordias Domini") {E. i Peter ii.
21-25. G. St John X. 12-16).
85 Ich bin ein guter Hirt'' ^
104 Du Hirte Israel, hore'- '.
112 Der Herr ist mein getreuer Hirt'- '.
Third ("Jubilate") {E. i Peter ii. 11-20. G.
St John xvi. 16-23).
12 Weinen, Klagen, Sorgen, Zagen'' *•.
103 Ihr werdet weinen und heulen*''".
' The text is provided or suggested by the Gospel for the Day.
2 Text by Picander.
^ Rom. A. 9.
* Text perhaps by Picander.
' 2 Timothy ii. 8.
* Wustmann (p. 281) questions Spitta's attribution of the text
to Marianne von Ziegler.
' Psalm Ixxx. i.
* The Cantata bears the title of the first stanza of a congre-
gational Hymn. See infra the section on the Cantata.
" Text probably by Salomo Franck.
"> Text by Marianne von Ziegler, published, vifith her other
Cantata texts set by Bach, in her Versuch in gebundener Schreibarf
(1728). The authoress was the widow of an officer and resident
in Leipzig. There is no evidence that Bach frequented her
society, though Professor Gottsched, who wrote the text of the
INTRODUCTION 1 3
146 Wir miissen durch viel Triibsal in das Reich
Gottes eingehen^' \
Fourth ("Cantate") (E. James i. 16-21. G.
St John xvi. 5-15).
108 Es ist euch gut, dass ich hingehe'' '-
166 Wo gehest du hin ?'■ *
Fifth ("Rogate") (E. James i. 22-27. G- St
John xvi. 23-30 or 33).
86 Wahrlich, wahrlich, ich sage euch 2' *.
87 Bisher habt ihr nichts gebeten in meinem Namen^' *.
Sixth ("Exaudi«") (E. i Peter iv. 8-11. G.
St John XV. 26 — xvi. 4}.
44 Sie werden euch in den Bann thun'' *.
183 Sie werden euch in den Bann thun'' ".
Ascension Day (E. Acts i. i-i i. G. St Mark xvi.
14-20).
II Lobet Gott in seinen Reichen^.
37 Wer da glaubet und getauft wird'* *.
"Trauerode," was known to both of them. Spitta (iii. 70) detected
the hand of "a new poet" in certain of Bach's works, but it
was not until his accidental discovery of the volume of 1728 that
he was able, in 1892, to identify the authoress. The following are
the Cantatas for which she wrote the texts : Nos. 68, 74, 87, 103,
ro8, 128, 175, 176, 183. See the Cantatas discussed in Spitta, iii.
70-73, and Schweitzer, 11. 332-338.
' Bach's authorship is questioned. ^ Acts xiv. 22.
' The text is provided or suggested by the Gospel for the Day.
* Wustmann, p. 282, conjectures that the texts of Cantatas 37,
44, 86, 166, are by the same author.
^ Text by Marianne von Ziegler.
' The Sixth Sunday after Easter is the Sunday after Ascension
Day.
14 INTRODUCTION
43 Gott fahret auf mit Jauchzen'- *• i».
128 Auf Christ! Himtnelfahrt allein'^-^'^
Whit Sunday {E. Acts ii. 1-13. G. St John xiv.
23-31)-
34 O ewiges Feuer, O Ursprung der Liebe*- ^- ".
59 Wer mich liebet, der wird mein Wort halten*' ^.
74 Wer mich liebet, der wird mein Wort halten^'^.
172 Erschallet, ihr Lieder*' ''.
D 2 Gott der HofFnung erfuUe euch.
Whit Monday {E. Acts x. 42-48. G. St John iii.
l6-2X).
68 Also hat Gott die Welt geliebt^. s. 6.
173 Erhotes Fleisch und Blut'- *.
174 Ich liebe den Hochsten von ganzem Gemiithe'.
Whit Tuesday {E. Acts viii. 14-17 or ii. 29-36.
G. St John X. i-ir).
17s Er rufet seinen Schafen mit Namen^- *.
184 ErwUnschtes Freudenlicht'- ^o.
' Psalm xlvii. 5.
' Text by Marianne von Ziegler.
' The Cantata bears the title of the first stanza of a congre-
gational Hymn. See infra the section on the Cantata.
* Wustmann, p. 284, states that Bach adapted an older text for
Whit Sunday use.
^ The text is provided or suggested by the Gospel for the
Day.
* Text by Neumeister.
' Text perhaps by Franck.
* See Wustmann, p. 284.
" Text by Picander.
!» Text probably by Bach,
INTRODUCTION 1 5
Trinity Sunday' {E. Rom. xi. 33-36. G. St
John iii. 1-15).
129 Gelobet sei der Herr^.
165 O heil'ges Geist- und Wasserbad'' ■*.
176 Es ist ein trotzig und verzagt Ding'- '■ ^.
Sundays after Trinity.
First {E. I John iv. 16-21. G. St Luke xvi.
19-30-
20 O Ewigkeit, du Donnerwort^.
39 Brich dem Hungrigen dein Brod'- '
75 Die Elenden sollen essen'- *.
Second {E. i John iii. 13-18. G. St Luke xiv.
16-24).
2 Ach Gott, vom Himmel sieh' darein^.
76 Die Himmel erzahlen die Ehre Gottes'< '> w.
Third" {E. i Peter v. 6- 11. G. St Luke xv.
i-io).
135 Ach Herr, mich armen Siinder^' ^.
' See also No. 194.
^ The Cantata bears the title of the first stanza of a congre-
gational Hymn. See infra the section on the Cantata.
* The text is provided or suggested by the Gospel for the I>ay.
* Text by Salome Franck.
= Text by Marianne von Ziegler.
* Jeremiah xvii. 9. A commentary on the conduct of Nicodemus
in the Gospel for the Day.
' Isaiah Iviii. 7.
* Psalm xxii. 26.
" Psalm xix. i, 3.
1" Relative to the Epistle for the Day.
" See also No. 2j,
l6 INTRODUCTION
Fourth {E. Rom. viii. 18-23. G- St Luke vi.
36-42).
24 Ein ungefarbt Gemiithe^' K
177 Ich ruf zu dir, Herr Jesu Christ'' '.
185 Barmherziges Herze der ewigen Liebe'- *.
Fifth {E. I Peter iii. 8-15. G. St Luke v. i-ii).
88 Siehe, ich will viel Fischer aussenden i- *.
93 Wer nur den lieben Gott lasst walten^' '• '.
Sixth {E. Rom. vi. 3- 11. <9. St Matt. v.
20-26).
9 Es ist das Heil uns kommen her'- ^' ''.
170 Vergniigte Ruh', beliebte Seelenlust '• '■ *.
Seventh {E. Rom. vi. 19-23. G. St Mark viii.
1-9).
J 07 Was willst du dich betriiben^
186 Argre dich, O Seele, nichti- *> ".
187 Es wartet AUes auf dich'' ">.
Eighth {E, Rom. viii. 12-17. G. St Matt. vii.
15-23)-
45 Es ist dir gesagt, Mensch, was gut ist'- ".
' The text is provided or suggested by the Gospel for the Day.
^ Text by Neumeister.
3 The Cantata bears the title of the first stanza of a congre-
gational Hymn. See infra the section on the Cantata.
■* Text by Salomo Franck.
^ Jeremiah xvi. 16.
, ' Text by Picander.
' Relative to the Epistle for the Day.
* See Wustmann, p. 287.
'* See Wustmann, p. 287, on the text.
'" Psalm civ. 27.
» Micah vi. 8,
INTRODUCTION 1 7
136 Erforsche mich, Gott, und erfahre mein Herz'' ^.
178 Wo Gott der Herr nicht bei uns halt'.
Ninth (E. i Cor. x. 6-13. G. St Luke xvi. 1-9).
94 Was frag ich nach der Welt'' '.
105 Herr, gehe nicht in's Gericht'» *.
168 Thue Rechnung ! Donnerwort'' *.
Tenth (E. i Cor. xii. i-ii. G. St Luke xix.
41-48).
46 Schauet doch und sehet, ob irgend ein Schmerz'-*.
loi Nimm von uns, Herr, du treuer Gott'' '.
102 Herr, deine Augen sehen nach dem Glauben'" ''■ ^
Eleventh (E. i Cor. xv. i-io. G. St Luke xviii.
9-14).
113 Herr Jesu Christ, du hochstes Gut'''.
179 Siehe zu, dass deine Gottesfurcht nicht Heuchelei
sei'' 9.
199 Mein Herze schwimmt im Blut'' '".
Twelfth (E. 2 Cor. Hi. 4- 11. G. St Mark vii.
31-37)-
35 Geist und Seele wird verwirret'' ".
' The text is provided or suggested by the Gospel for the Day.
' Psalm cxxxix. 23.
3 The Cantata bears the title of the first stanza of a congre-
gational Hymn. See infra the section on the Cantata.
* Psalm cxhii. -z. " Text by Salomo Franck.
" Lamentations i. iz.
' Jeremiah v. 3.
' Text improbably by Picander. See Wustmann, p. 288.
' Ecclesiasticus i. 28.
•" The title is that of one of Neumeister's Cantata texts. Bach
himself arranged the latter part of it.
" Text perhaps by Bach. See Wustmann, p. 289.
T. B. C. 2
1 8 INTRODUCTION
69 Lobe den Herrti, meine Seele'.
1 37 Lobe den Herrfen, den machtigen KSilig der Ehr en '.
Thirteeilth {E. Gal. iii. 1 5-22. G. St Luke x.
23-37)-
33 AUein zu dir, Herr Jesu Christ*- '.
77 Du sollst Gott, deinen Herren, liebeh*-'.
164 Ihr, die ihr euch von ChristO nennet*- '.
Fourteenth {E. Gal. v. 16-24. G- St Luke xvii.
1 1-19).
17 Wer Dank opfeft, der preiset mich*' ''.
25 Es ist nichts gesutides an meinem Leibe*- *.
78 Jesu, der du meine Seele*'*-
Fifteenth" {E. Gal. v. 25-26, x. G. St Matt. vi.
24-34)-
51 Jauchzet Gott in alien Landen*' ">• ".
99 Was Gott thut, das ist wohlgethifl*' *.
138 Warum betriibst du dich, meitt Herz^- *.
Sixteenth {E. Eph. iii. 13-21. G. St Luke vii.
II -I 7)"
8 Liebster Gott, wann werd' ich sterben*' *.
1 Psalm ciii. 2. Also for Rathswahl use.
^ The Cantata bears the title of the first stanza of EL dongre-
gational Hymn. See infra the section on the Cantata.
' Text relative to the Epistle.
* The text is provided or suggested by the Gospel for the Day.
* Bach follows the Gospel version in St Matt. xxii. 35-40.
" Text by Salomo Franck.
' Psalm 1. 13. The text perhaps is by Bach.
8 Psalm xxxviii. 3. * See also No. 100.
'" Also for general use.
" The text may be attributed to Baeh himself.
'* See also No. j6i.
INTRODUCTION 1 9
27 Wer weiss, wie nahe mir mein Ende'' ^' '.
95 Christus, der ist mein Leben^' 2.
161 Komm, du susse Todesstunde'' *.
Seventeenth {E. Eph. iv. 1-6. G. St Luke xiv.
i-ii).
47 Wer sich selbst erhohet, der soil emiedriget
werden*> K
114 Ach, lieben Christen, seid getrost^' ^.
148 Bringet dem Herrn Ehre seines Namens'-*' '.
Eighteenth {E. i Cor. i. 4-9. G. St Matt. xxii.
34-46).
96 Herr Christ, der ein'ge Gottes-Sohn'' ^.
169 Gott soil allein mein Herze haben'.
Nineteenth {E. Eph. iv. 22-28. G. St Matt. ix.
1-8).
5 Wo soil ich fliehen hin'- 2.
48 Ich elender Mensch, wer wird mich erlosen'- ^
56 Ich will den Kreuzstab gerne tragen*' '.
1 The text is provided or suggested by the Gospel for the Day.
* The Cantata bears the title of the first stanza of a congre-
gational Hymn. See infra the section on the Cantata.
i> Text by Neumeister and Bach. See Wustmann, p. 290.
■* Text by Salomo Franck.
'" The text is from a set of Cantata texts published at Eisenach in
1720 by State Secretary Johann F. Helbig.
8 Text founded on Picander.
' Psalm xxix. 1.
' Romans vii. 24.
' The first RecitcUivo of the Cantata is based on a text of
Neumeister's. Bach's arrangement of the text may be inferred.
See Wustmann, p. 291.
20 INTRODUCTION
Twentieth {E. Eph. v. 15-21. G. St Matt. xxii.
1-14).
49 Ich geh' und suche mit Verlangen*.
162 Ach, ich sehe, jetzt da ich zur Hochzeit gehe'> 2.
180 Schmucke dich, O liebe Seele'-^
Twenty-first {E. Eph. vi. 10-17. G. St John iv.
47-54).
38 Aus tiefer Noth schrei ich zu dir^- K ■
98 Was Gott thut, das ist wohlgethan i- ^.
109 Ich glaube, lieber Herr, hilf meinem Unglauben »• *.
188 Ich habe meine Zuversicht*- *.
Twenty-second {E. Phil. i. 3-11. G. St Matt.
xviii. 23-35).
5S Ich armer Mensch, ich Siindenknecht^.
89 Was soil ich aus dir machen, Ephraim'''?
115 Mache dich, mein Geist, bereit'' ^
Twenty-third {E. Phil. iii. 17-21. G. St Matt,
xxii. 15-22).
52 Falsche Welt, dir trau ich nicht'.
139 Wohl dem, der sich auf seinen Gott'- '.
163 Nur Jedem das seine*' ^.
* The text is provided or suggested by the Gospel for the Day.
^ Text by Salomo Franck.
' The Cantata bears the title of the first stanza of a congre-
gational Hymn. See infra the section on the Cantata.
* St Mark ix. 24. = Text by Picander.
" The larger part of this Cantata has been attributed to Bach's
eldest son, Friedemann. See Wustmann, p. 298.
' Hosea xi.^8.
INTRODUCTION 21
Twenty-fourth (E. Coloss, i. 9-14. G. St Matt.
ix. 18-26).
26 Ach wie fluchtig '■ 2,
60 O Ewigkeit, du Donnerwort'- \
Twenty-fifth {E. i Thess. iv. 13-18. G. St
Matt. xxiv. 15-28).
90 Es reifet euch ein schrecklich Ende^.
116 Du Friedefiirst, Herr Jesu Christ*.
Twenty-sixth (£. 2 Peter iii. 3-14 or 2 Thess. i.
3-10. G. St Matt. XXV. 31-46).
70 Wachet, betet, betet, wachet^- *.
Twenty -seventh (E. i Thess. v. i-ii, or one of
the two Epistles for the Twenty-sixth Sunday.
G. St Matt. XXV. 1-13 or xxiv. 37-51 or v. 1-12).
140 Wachet auf, ruft uns die Stimme^' *.
Feast of the Purification of the B.V.M.
(E. Mai. iii. 1-4. G. St Luke ii. 22-32).
82 Ich habe genug^.
83 Erfreute Zeit im neuen Bunde^.
125 Mit Fried' und Freud' ich fahr' dahin'' \
157 Ich lasse dich nicht, du segnest raich denn°' '.
' The Cantata bears the title of the first stanza of a congre-
gational Hymn. See infra the section on the Cantata.
^ The text is provided or suggested by the Gospel for the Day.
'■' Text by Salomo Franck.
■* The subject of the Cantatas for the Twenty-sixth and Twenty-
seventh Sundays after Trinity was suggested by their Advent
context. No. 70 originally was for the Second Sunday in Advent.
^ Text by Picander.
* Genesis xxxii. 26. Also for a funeral.
22 INTRODUCTION
158 Der Friede sei mit dir'-.*.
161 Komm, du siisse Todesstunde'' *.
Feast of the Annunciation of the B.V.M.
{E. Is. vii. 10-16. G. St Luke i. 26-38).
1 Wie schon leuchtet der Morgenstem *' ^.
Feast of the Visitation of the B.V.M.
{E. Rom. xii. 9-16 or Is. xi. 1-5 or Song of
Solomon ii. 8-17. G. St Luke i. 39-56).
lo Meine Seel' erhebt den Herren*' ^
147 Herz und Mund und That und Leben*' ^<'.
189 Maine Seele riihmt und preist*' '.
Feast of St John Baptist [E. Is, xl. 1-5.
G. St Luke i. 57-80).
7 Christ unser Herr zum Jordan kam*.
30 Freue dich, erloste Schaar'' *> '.
167 Ihr Menschen, riihmet Gottes Liebe'- ^.
' The text is provided or suggested by the Gospel for the Day.
'^ The text is from the Gospel for Easter Tuesday, for which
occasion Bach also used the Cantata. In the form in which the
Cantata has come down to us it is not exactly congruous to either
occasion.
' Text by Salomo Franck.
* Also for the Sixteenth Sunday after Trinity.
' The Cantata bears the title of the first stanza of a congre-
gational Hymn. See infra the section on the Cantata.
' Originally for the Fourth Sunday in Advent (?i7i6).
' Schweitzer (11. 140) assigns this Cantata to the Fourth
Sunday after Easter. The score does not indicate the occasion
for which it was composed.
* The Feast of St John Baptist was also Midsummer Day.
" Probably a reconstruction by Picander of his own original
secular text,
1" Text by Franck and, probably, Bach.
introduction 33
Feast of St Michael the Archangel^
{E. Rev. xii. 7-12. G. St Matt, xviii. i-ii).
19 Es erhub sich ein Streit^' '.
50 Nun ist das Heil und die Kr^ft*' ^
130 Herr Gott, dich loben alle wir*- *.
149 Man singet mit Freuden vom Sieg^.
D 3 Siehe, es hat iiberwunden der Lowe.
For General or Unspecified UseI
21 Ich hatte viel Bekiimmerniss*' '".
*54 Widerstehe doch der Siinde.
*97 In alien meinen Thaten'- 1^.
*ioo Was Gott thut, das ist wohlgetljan'" '2.
*ii7 Sei Lob und Ehr" dem hochsten Gut".
*I3I Aus der Tiefe rufe ich, Herr, zu dir".
* The occasion for which this Cantata was composed is not
stated in the score.
' See also No. 51, and Spitta, 11. 473.
" Jude 9. See the Epistle for the Day.
■^ Spitta, II. 344, attributes the text to Picander, inaccurately in
Wustmann's (p. 294) opinion.
* See the Epistle for the Day.
^ Revelation xii. 10. The occasion for which the Cantata was
composed is not stated in the score. Spitta, lii. 83, suggests that it
was intended for Michaelmas, from whose Epistle the text is taken.
' The Cantata bears the title of the first stanza of a congre-
gational Hymn. See infra the section on the Cantata.
' Psalm cxviii. 15, i6. See the Epistle for the Day.
* See also Nos. 50 and ji.
' Text perhaps by Salomo Franck. But see Wustmann, p. 286.
'" Psalm xciv. 19. See the Epistle for the Third Sunday after
Trinity, for which occasion probably Bach composed it.
^^ Psalm cxxx. Wustmann, p. 297, suggests that the text is by
Georg Christian Eilmar, at whose request Bach composed the
Cantata.
'2 Perhaps used for a wedding.
24 INTRODUCTION
*i5o Nach dir, Herr, verlanget mich*.
*ig2 Nun danket alle Gott^.
*D4 Lobt ihn mit Herz und Munde.
For a Wedding'.
195 Dem Gerechten muss das Licht*.
196 Der Herr denket an uns'.
197 Gott ist uns're Zuversicht*.
U 2 O ewiges Feuer, O Ursprung der Liebe.
U 3 Herr Gott, Beherrscher aller Dinge*.
For a Funeral'.
S3 Schlage doch, gewiinschte Stunde*.
106 Gottes Zeit ist die allerbeste Zeit'.
118 O Jesu Christ, mein's Lebens Licht^.
198 The "Trauerodei"."
* The occasion for which this Cantata was composed is not
stated in the score.
1 Psalm XXV. i, 2.
^ The Cantata bears the title of the first stanza of a congre-
gational Hymn. See infra the section on the Cantata.
' See Spitta, 11. 632-637, for three secular Wedding Cantatas by
Bach. See also Nos. 97, 100.
* Fsalm xcvii. 11, 12. The occasion for which the Cantata was
composed is not stated in the score.
' Psalm cxv. 12-15. See Spitta, I. 370.
' Not improbably the text is by Bach himself.
' See also No. 157, and Spitta, 11. 411.
* Text probably by Salomo Franck. The occasion for which
the Cantata was composed is not stated in the score. It is strictly
a "mourning aria." See Spitta, 11. 476; Schweitzer, 11. 253;
Wustmann, p. 261.
' The text is formed from various portions of Scripture
discerningly pieced together, perhaps by Bach himself.
i» Text by Professor J. C. Gottsched.
introduction 25
For a Public Fast.
D I Gedenke, Herr, wie es uns gehet'.
For the Reformation Festival.
79 Gott, der Herr, ist Sonn' und Schild^.
80 Ein' feste Burg ist unser Gott'- *.
For the Inauguration of the Town
Councils
29 Wir danken dir, Gott^
71 Gott ist mein Konig'.
119 Preise, Jerusalem, den Herrni
120 Gott, man lobet dich in der Stille".
193 Ihr Pforten [Tore] zu Zion".
For the Opening of an Organ.
194 Hochsterwunschtes Freudenfest''.
^ The Preface (p. xxxi) to B.G. xli quotes Winterfeld's opinion
that this was the occasion of the Cantata, and draws attention to
the relation of the text of the first chorus to Jeremiah v. i, 15, 16.
2 Psalm Ixxxiv. n. See Spitta, ill. 74, on the text.
8 The Cantata bears the title of the first stanza of a congre-
gational Hymn. See infra the section on the Cantata.
* Text by Salomo Franck. See also No. 76.
^ For a secular Cantata in praise of the Leipzig Town Council,
see Spitta, n. 634. See also No. 69.
" Psalm Ixxv. j.
' Psalm Ixxiv. 12. The text probably is Bach's arrangement.
See Wustmann, p. 295.
" Psalm cxlvii. 12.
9 Psalm Ixv. I.
'" See Spitta, in. 83 n. The score does not state the occasion
for which the Cantata was composed.
'^ As its text shows, the Cantata was adapted by Bach for use
on Trinity Sunday.
INTRODUCTION
The Choral Cantatas
So intimate is the association between the
Cantata, as it developed in Bach's hands, and the
congregational Hymns and Hymn melodies of the
Lutheran Church, that the latter are absent only
from twenty-two of the two hundred and six
Cantatas'. The one hundred and eighty-four Can-
tatas that include Hymn stanzas or melodies fall
into three groups. The largest, containing one
hundred and eighteen Cantatas, includes those in
which Bach introduces Chorals, almost invariably
as the concluding movement", occasionally in the
middle movements, very rarely in the opening
movement", but always without permitting them to
dominate the Cantata*. The second, and smallest,
1 They are the following : Nos. 34, 35, 50, S3. S4> 63, 82, 134,
141, ISO, isi, 160, 170, 173, 181, 189, 191, 193, 196, 198, U 2, D I.
" The oidy exceptions to the rule are Nos. 21, 30, S'l 59i 71 >
182, 184, i86(?), 199.
' See Nos. 77, 106, 131, 145, 153, D4. They are the only
exceptions.
* The complete list of this group is as follows : Nos. 6, 11, 12,
13. IS. 17. 18. 19. 21, 22, 23, 24, 2S, 28, 29, 30, 31, 32, 36, 37, 39,
40, 42, 43, 44, 45, 46, 47, 48, 49, 51, 52, 5s, 56, s7. 59. 64. 65. 66,
67, 69, 70, 71, 72, 74, 75, 76, 77, 79, 8ii 83, 84, 85, 86, 87, 88, 89,
90, 102, 103, 104, 105, 106, 108, 109, no, 119, 120, 131, 132, 136,
142, 143, 144. '45. 146. 147. 148, 149. I6J. IS4> 155. 156, 157. iS8,
159, 161, 162, 163, 164, 165, 166, 167, 168, 169, 171, 17.2, 174, 175,
176, 179, 182, 183, 184, j8s, 186, 187, 188, 190, J94, 195, 197, 199,
Ui,U3, D2, D3, D4.
INTRODUCTION 27
group consists of twelve Cantatas which bear the
name of a congregational Hymn, whose text and
melody are introduced into their opening move-
ments, but are not permitted to close the Cantata,
and therefore do not leave a vivid impression of the
Choral as the key to the whole composition ^
The third category contains the Cantatas which
are distinguished preeminently as "Choral Canta-
tas." They number fifty-four and fall into two
divisions, the first, which contains fifteen Cantatas,
coinciding with the Leipzig period 1723-34; the
second, which contains thirty-nine, coinciding with
the later Leipzig period 1735-50.
Choral Cantatas, 1723-34 (15).
4 Christ lag in Todesbanden.
8 Liebster Gott, wann werd' ich sterben?
9 £s ist das Heil uns kommen her.
20 O Ewigkeit, du Donnerwort.
80 Ein' feste Burg ist unser Gott.
93 Wer nur den lieben Gott lasst waken.
97 In alien meinen Thaten.
99 Was Gott thut, das ist wohlgethan.
113 Der Herr ist mein getreuer Hirt.
117 Sei Lob und Ehr" dem hochsten Gut.
129 Gelobet sei der Herr.
137 Lobe den Herren,.den machtigen Konig der Ehren.
»,, 140 Wachet auf, ruft uns die Stimme.
177 Ich ruf zu dir, Herr Jesu Christ.
192 Nun danket alle Gott.
1 The following Cantatas form this group: Nos. i6, 17, 58, 60,
61,68, 73,95, 98, 118, 1-28, 153.
28 introduction
Choral Cantatas, 1735-5° (39)-
1 Wie schon leuchtet der Morgenstern.
2 Ach Gott, vom Himmel sieh' darein.
3 Ach Gott, wie manches Herzeleid.
5 Wo soil ich fliehen hin.
7 Christ unser Herr zum Jordan kam.
10 Meine Seel' erhebt den Herren.
14 War Gott nicht mit uns diese Zeit.
26 Ach wie fliichtig.
yi3 ^Allein zu dir, Herr Jesu Christ.
38 Aus tiefer Noth schrei ich zu dir.
41 Jesu, nun sei gepreiset.
62 Nun komm, der Heiden Heiland.
78 Jesu, der du meine Seele.
91 Gelobet setst du, Jesu Christ.
92 Ich hab' in Gottes Herz und Sinn.
94 Was frag ich nach der Welt.
96 Herr Christ, der ein'ge Gottes-Sohn.
icxD Was Gott thut, das ist wohlgethan.
loi Nimm von uns, Herr, du treuer Gott.
y 107 Was willst du dich betriiben.
Ill Was mein Gott will, das g'scheh' allzeit.
113 Herr Jesu Christ, du hochstes Gut.
114 Ach, Ueben Christen, seid getrost.
115 Mache dich, mein Geist, bereit.
116 Du Friedefurst, Herr Jesu Christ.
121 Christum wir soUen loben schon.
122 Das neugebor'ne Kindelein.
123 Liebster Immanuel, Herzog der Frommen.
124 Meinen Jesum lass' ich nicht.
125 Mit Fried' und Freud' ich fahr" dahin.
^26 Erhalt' uns, Herr, bei deinem Wort.
127 Herr Jesu Christ, wahr'r Mensch und Gott.
130 Herr Gott, dich loben alle wir.
133 Ich freue mich in dir.
125
1/126
INTRODUCTION 29
135 Ach Herr, mich armen Sunder.
138 Warum betriibst du dich, mein Herz.
139 Wohl detn, der sich auf seinen Gott.
176 Wo Gott der Herr nicht bei uns halt.
180 Schmiicke dich, O liebe Seele.
The Choral Cantata as we have it after 1734 is
the supreme expression of Bach's art in that form.
He was led to it by the inadequacy of the texts
with which Picander provided him, and by the
failure of his earlier experiments in building
a Cantata upon a congregational Hymn. The
Choral Cantata united the best features of both
forms. Briefly its essentials are these: (i) The
text of the Cantata is based upon that of a con-
gregational Hymn, the Cantata in effect being an
elaborate setting of its stanzas. (2) The middle
movements are not necessarily set to actual words
of the Hymn, all of whose stanzas are not invari-
ably used. If the Hymn is too short, as for instance
No. 140, additional stanzas are inserted. But
whether the stanzas be reconstructed or extended,
the spirit of the original Hymn is preserved, and in
the case of reconstructed stanzas the actual words
of the original text are preserved so far as is con-
venient. (3) Whatever liberties are taken with the
intermediate stanzas, the words of the first and last
movements of the Cantata invariably'^ are stainzas
' But see No. 107.
30 INTRODUCTION
of the original Hymn, and are, in both movements,
wedded to its proper or customary tune*.
As Spitta comments, the Choral Cantatas
assume that the hearer held constantly in mind
the Hymn in its original form. "The church-
goer of those days could compare the printed text
of the Cantata with the version in his Hymn book ;
or he could even dispense with this material aid,
since those Hymns were in every heart as a
possession common to all. He had sung them
times without number in church, had taken them
as his guide in daily life, and had drawn consolation
and edification from isolated verses under various
experiences. This was the audience to which
Bach addressed himself, and such an audience do
these compositions still require, for to such alone
will they reveal all their meaning and fulness"."
It was in the early thirties, or after 1728, that
Bach, dissatisfied with the Cantata texts which
he had used for so many years, turned to the
Hymns of the sixteenth and seventeenth centuries.
' Particular care has been taken to discover, in all cases in
which a Hymn is set to a, tune other than its proper melody,
whether the association was usual in the Hymn books of Bach's
period. Clearly the devotional purpose Bach had in view would
not be served by severing a Hymn from the tune to which it
usually was sung. In the Choral Cantatas it is possible to state
positively of all, that Bach always associated the Hymn with the
tune by which it was known.
' Op. cit. III. 107.
INTRODUCTION 3 1
At Weimar he had been so fortunate as to find in
Salomo Franck a man of his own temperament.
Erdmann Neumeister also provided him with texts,
though in lesser number. Later, at Leipzig, Bach
used the Cantata texts of Marianne von Ziegler".
But almost from the moment of his arrival at
Leipzig, he entered into a literary partnership
with Christian Friedrich Henrici, or Picander^
which lasted for twenty years. Bach's exclusive
dependence on Picander is proved, perhaps, by the
fact that, excepting Marianne von Ziegler, he seems
to have made no eflFort to secure another librettist.
Yet Picander hardly can have satisfied Bach, though
he accepted from him and set many texts which
are wanting in taste and fine feeling. Picander
began his literary career as a lampoonist, a form of
expression for which he was better fitted. Cantata
work was quite foreign to his character, and he
seems to have attempted it at Bach's instigation,
under his direction, and subject to his suggestion
and correction. It is probable that the texts of the
Choral Cantatas also were arranged by Picander
under similar conditions. It is to be assumed,
therefore, that Bach originated the Choral Cantata,
and guided it to its final form in the Cantatas of
the post 1734 period.
An examination of the earlier group of Choral
See notes pp. 6, 12 supra. ^ See p. 5, note 4, supra.
32 INTRODUCTION
Cantatas, while it reveals contrast, brings out their
essential agreement with the later. The first and
last movements are stanzas of the same Hymn, set
to its proper or customary melodyY In every case
the first movement is in the form of a Choral
Fantasia.] In every case the final movement is a
simpTe Hymn setting, except in Nos. 97, 112,
137, where the simple setting is embellished by
orchestral detail', and Nos. 129, 192, where it is
Extended or a Fantasia in form. In eight of the
fifteen Cantatas (1723-34) the Hymn and its
melody are associated only in the first and last
movements. They are Nos. 8, 9, 97, 99, 112, 129,
177, 192.
Of greater importance is the structure of the
early Choral Cantata libretti. More than half
(eight) are the unaltered text of a congregational
Hymn: they are Nos. 4, 97, 112, 117, 129, 137,
177, 192. The text of four Cantatas consists
partly of actual and partly of paraphrased Hymn
stanzas : they are Nos. 8, 9, 20, 99. In two Can-
tatas movements are included which are neither
actual nor paraphrased stanzas of the Hymn : they
' Chorals of this kind are here designated "Embellished." It
is very rare for any of the instruments to receive an independent
part in the final Simple Chorals. Where it does occur it usually is
for the purpose of bringing out the melody prominently and so of
emphasising the idea which the melody represented to the con-
gregation. See infra for a list of the Embellished Chorals.
INTRODUCTION 33
are Nos. 80, 140. In a single Cantata, No. 93, in
addition to actual and paraphrased stanzas of the
Hymn, the libretto adds to the former a commen-
tary of Recitativo. As a whole, therefore, the early
Choral Cantata group exhibits no uniform treatment
of the Hymn libretto. The composer is generally'
content with the actual text of the Hymn without
attempting to mould it to a more plastic form.
But Bach soon discovered that a uniform stanza,
particularly a stanza lavishly rhymed, was not as
appropriate to Recitativo and Aria as it was, for
instance, to the Simple Choral and more elaborate
Fantasia. Rhythmical uniformity impeded his
musical utterance. He therefore invented the
paraphrase of the Hymn stanza, of which he had
made trial already in Cantata No. 93. Hence, the
libretti of the later Choral Cantatas display a
textual uniformity that is lacking in the earlier
ones. Only two of them, Nos. 100, 107, are set to
the unaltered text of the Hymn. In all the others
the libretto is made up of actual and paraphrased
Hymn stanzas. Twelve of the thirty-nine Cantatas,
however, contain paragraphs foreign to the original
Hymn text. Nos. 3, 91, 92, 94, loi, 113, 125, 126,
138, and 178 include movements described as
" Recitativ und Choral " which associate actual
stanzas of the Hymn with a concurrent commen-
tary. In No. 122 a similar form is found in the
T. B. c. 3
34 INTRODUCTION
fourth movement, "Choral und Aria." The pre-
ceding Recitativo of that Cantata (No. 122) is
not a stanza of the Hymn, and the penultimate
number of No. 38 is based upon the Gospel for the
Day.
The Choral Cantatas of the post 1734 period,
written for the most part, as Spitta shows \ on paper
having the same watermark, exhibit the final and
perfected type of libretto. In all, the first and
last movements are Choruses upon the words and
melody of the Hymn. In all, the opening move-
ment is a Choral Fantasia^ In all but eight, the
last movement is a Simple Choral^ — Nos. 41, 100,
107 are Extended, Nos. i, 91, lOi, 130 are Em-
bellished, and No. 138 is a Choral of the Fantasia
type. As in the Choral Cantatas of the earlier
group. Bach comparatively rarely brings the. Hymn
and melody together between the first and last
Choruses, the two "pillars" of the Choral Cantata.
He does so only in Nos. 3,91, 92,94, loi, 113, 114,
122, 125, 126, 138, 178, and 180?.
1 op. cit. HI. 285.
* Nos. 2, 14, 38, and 121 are in Motett form. The only other
Motett Choral Choruses in the Cantata.s are Nos. 4d, ii, 28 a, and
1 18. Motett Choruses are also found in Cantatas 64, 68, and 108.
' It must be remembered that this analysis is directed only upon
the movements in which a Hymn text or paraphrase and its melody
are associated, or where the melody is introduced by itself to suggest
or recall the spirit of the Hymn.
INTRODUCTION 35
The Choral forms which Bach employs in the
Cantatas must now be considered.
The Choral Fantasia
TheLeipzigCantatas are distinguished generally
from those of the earlier periods of Bach's activity
by the magnificent Choral Fantasias which he in-
troduced into them, generally as their opening
movement. With the exceptions to which attention
already has been drawn, the Choral Cantatas in-
variably are opened by a Chorus of this type.
The Choral Fantasia, the logical outcome of
Bach's experiments in organ and orchestral form,
was essential to the structure of the Church
Cantata, as he conceived it. The Choral Fantasia
was evolved from the Organ Choral Prelude, a fact
which is patent when Bach's treatment of the tune
" Ach wie fliichtig" in the Orgelbuchlein is compared
with his Choral Fantasia on the melody in Cantata
26. The Organ Choral Prelude did not merely
evolve the form of the Choral Fantasia itself.
Bach's orchestral sense ordained, upon the analogy
of the Concerto, the relation of the Choral Fantasia
to the Choral Cantata, of which it is at once a part
and the key. Like the first movement of the Con-
certo, the Choral Fantasia colours and defines the '
whole Cantata. Its grand purpose was, in Spitta's
3—2
36 INTRODUCTION
words S "the perfect poetic and musical develope-
ment of a particular Hymn by means of all the
artistic material which Bach had assimilated by a
thorough study of the art of his own and former
times." In the Choral Fantasia the Hymn, words
and melody, is presented with all the technique of
Bach's mature genius. It is perfect and complete
in itself, and yet a detail in an ordered whole.
The Cantatas contain seventy-eight movements
of the Choral Fantasia form ^ They are as follows :
Nos. I a, 2aS 3a, 4a, 4d', 5 a, 7 a, 8 a, 9a, loa, 11 b,
14 a, 16 a, 20 a, 21 ^ 23, 26 a, 27 a*, 28 a^ 33 a, 38 a^
41 a, 61 a, 61 b, 62 a, 68, 73 a*, 77 a, 78 a, 80 a, 80 c^
91 a, 92a, 93 a, 94a, 9Sa«, 96a, 97 a, 98, 99 a, looa,
loia, io6c, 107a, 109, ma, 112a, 113a, 114a,
U5a, ii6a, 117a, II8^ 121a', 122a, 123a, 124a,
125 a, 126 a, 127 a, 128 a, 129a, 130a, 133 a, 13s a,
137 a, I38a«'«, 138 b', 138 c, 139 a, 140 a, 143 b,
177 a, 178 a, 180 a, 182, 192 a, 192 b. With few
exceptions all the foregoing are the opening move-
ment of a Cantata. The exceptions are : No. 28 a,
which is the second movement; No. 138b, which is
the third movement ; No. 4 d, which is the fourth
^ Op. cit. in. 104. '•' See also No. 186.
■^ A Choral Motett. * See also the Dialogus group.
^ Also under Unison Choral.
^ See also the Dialogus group. ' A Chorsfl Motett.
* See note on this movement in Cantata 138.
INTRODUCTION 37
movement ; No. 80 c, which is the fifth movement ;
No. i82jwhich is the seventh movement; No. 21,
which is the ninth movement ; Nos. 11 b, 23, 61 b,
io6c, 109, 138c, 143 b, 192 b, which are the con-
cluding movements
The Simple Choral
The majority of the Choral movements in the
Cantatas, as in the "Passions" and Oratorios, are
in simple Hymn form, i.e. suitable for congrega-
tional use, but not necessarily so used. While a
Choral Fantasia as a general rule begins a Cantata,
a Simple Choral, almost invariably, brings it to a
close. Only in three instances — Nos. 145 a, 153 a,
D 4 — does a Simple Choral begin a Cantata".
It is remarkable that Bach generally preferred
to bring his Cantatas to an end in a simple and
unpretentious form. That he did so with the
' Spitta, in. loi, regards the following movements as transitional
towards the perfect Choral Fantasia : Nos. i a, 5a, 41a, 61 a, 94a,
126a, 127 a, 135a, 139 a. The following Extended Chorals approach
the dimensions of a Choral Fantasia: Nos. roob, 129 b, 147a, 147 b,
167, 186.
2 With the rarest exceptions, the Simple and Embellished
Chorals are printed in Bernhard Friedrich Richter's edition of
Bach's Choralgesange (Breitkopf & Haertel, 1898). Some of the
Extended and more elaborate movements are given by Ludwig Erk
in his Johann Sebastian Bach's Choralgesange und geisiliche Arien
(2 vols., Peters, 1850-65). The Chorals which are thus rendered
accessible are indicated in the following pages.
38 INTRODUCTION
reverent purpose of rivetting a last impression of
the Hymn in its most arresting form cannot be
doubted. The following are the one hundred
and thirty-four Simple Chorals in the Cantatas:
Nos. 2 b, 3c, 4g, 5 b, 6 b, 7 b, 8 b, 9 b, 10 b, 11 a,
13b, 14b, i6b, 17, 18, 20b, 20c, 25, 26b, 27b,
28 b, 30, 32, 33 b, 36 b, 36 d, 37 b, 38 b, 39, 40 a,
40 b, 40 c, 42 b, 43, 44 b, 45, 47, 48 a, 48 b, 55, 56,
57, 60 b, 62 b, 64 a, 64 c, 65 b, 66, 67 a, 67 b, 70 a,
72, 73 b, 74, 77 b, 78b, Sod, 81, 83, 84, 85b, 86b,
87, 88, 89, 90, 92 e, 93 g, 94 d, ,96 b, 99 b, 102,
103, 108, no, nib, II 3 e, 114 c, 115 b, ii6b,
117b, 117c, 119, 120, 121 b, I22C, 123b, 124b,
125 c, 126c, 127b, 132, 133 b, 135 b, 139 b, 140 c,
144 a, 144 b, 145 a, 145 b, 146, 148, 151, 153 a,
153 b, IS3C, 154a, 154 b, 155, iS6b, 157, 158b,
159 b, 162, 163, 164, 165, 166 b, 168, 169, 176,
177 b, 178 e, 179, 180 c, 183, 184, 187, 188, 194a,
197 a, 197 b, U I, D4.
The Embellished Choral
Closely related to the Simple Choral is the
Embellished, or decorated Simple, form, of which
there are thirty-five examples in the Cantatas:
Nos. lb, 12, 19, 29, 31, 52, 59, 64b, 65a, 69a,
69b, 70b, 79b, 91c, 95c, 9; b, loi f, 104, 112b,
128 b, 130 b, 136, 137 d, 149, 161, 172, 174, 175,
185, 190b, 194b, 195, U3, D2, D3. Excepting
INTRODUCTION 39
Nos. 59, 64 b, 65 a, these Chorals conclude the
Cantata. Bach's purpose in regard to them
therefore is obvious. In form they are identical
with the Simple Choral. They differ in that, while
in the Simple Choral the orchestra merely doubles
the voice parts, in the Embellished form certain in-
struments have independent parts, giving brilliance
or adding an ornament to the final statement of the
tune. In Nos. 19, 29, 69 a, 130 b, I37e, 149, 190 b,
and U 3, Bach secures an impressive ending by
adding Trumpets and Timpani. In No. D 3 he
uses two Trumpets obbligati^. In Nos. 79 b, 91c,
and 195, Horns and Timpani are employed in a
similar manner, while in Nos. lb, 52, 112b, 128b,
D 2, Horns emphasise or support the melody^. In
No. 65 a the Flutes in octave accentuate, and in
No. 161 weave an arabesque round the melody ^
In No. 17s the Strings and Flutes are in unison*.
In Nos. 59, 70 b, 95 c, 97 b, 136, 172, 185, the
Violins are obbligati or the Strings support the
inner parts of the vocal harmony^ In No. 31 the
First Violins and Trumpet are obbligati, and No. 1 2
' The Trumpet and Timpani group of Embellished Chorals will
be found in Richter's Choralgesange, in the order in which their
numbers are stated above, as Nos. 99, 272, 97, 131, 330, 155, 205,
230. 387-
^ For this group see the Choralgesange, Nos. 267, 109, 236, 378,
212, 14, 279, 219.
' Choralgesange, Nos. 302, 161. * Ibid. No. 220.
* Ibid. Nos. 220, 243, 356, 297, 27, 376, 184.
40 INTRODUCTION
provides a similar part for the Oboe or Trumpet'.
In No. 64 b Bach adds an Organ pedaP. Nos. 69 b,
loi f, 104, 174, and 194 b contain unimportant
additions to the inner vocal parts'.
In a large number of cases a Simple Choral is
strengthened by the addition of octaves in the
Continuo.
The Extended Choral
The Extended Choral, familiar in the " Christ-
mas Oratorio*," presents the melody in Simple
four-part form, but the lines of the Hymn are
separated by orchestral interludes which, with the
addition of an introduction, give the movement in
some cases almost the proportions and character of
a Choral Fantasia'. There are twenty-three Chorals
of this kind in the Cantatas: Nos. 3 b', 15, 22, 24,
41b, 46, 75a(c), 76a, 76b, 79a, 92d^ 100 b, 105,
107 b, 129 b, 142, 147 a, 147 b, 167, 171, 178 d*,
186, 190 a'. All of them are the final movements
of a Cantata, or of the first Part of a Cantata,
except Nos. 3 b, 79 a, 92 d, 147 a, 178 d, and 190 a.
1 Choralgesdnge, Nos. 357, 340. * Ibid. No. 280.
^ Erk, No. 301; Choralgesdnge, Nos. 318, 13, 153, 268.
* Nos. 9, 23, 42, 64. Spitta, II. 457, finds this type of Choral
reminiscent of Georg Bohm (i66r-i733), whose influence upon Bach
was considerable. See Schweitzer, i. 45.
^ The following movemeiits approach the dimensions of a Choral
Fantasia: Nos. loob, 129b, 147a, 147b, 167, 186.
« The Choral is also included in the Dialagus group.
INTRODUCTION 4I
In the Cantatas, therefore, as in the "Christmas
Oratorio," Bach's purpose in regard to the Ex-
tended Choral is clear.
The Unison Choral
Among the Choral movements for individual
voices the Unison Chorals are the most numerous.
They number twenty-one, and are as follows, the
voice to which the melody is given being stated in
the bracket : Nos. 4 c (T.), 4 e (B.), 6 a (S.), 1 3 a (A.),
36 c (T.), 44 a (T.), SI (S.), 85 a (S.), 86 a (S.),
92 c (A), 9Sb(S.), 1 13 b (A), ii4b(S.), 137 b (A),
140 b(T.), 143 a (S.), 166 a (S.), 178 c(T.), i8ob(S.)S
199 (S.). In this group also must be included
No. 80 c, which is a Unison Choral Fantasia for
S.A.T.B.
As Schweitzer points out^ most of these Unison
Chorals are exceedingly appropriate for use in
liturgical services; the Soprano Chorals especially
would be effective with instrumental or Organ
accompaniment.
The Aria Choral
The term Aria, as Bach used it, connotes a
song in rhythmical proportions for one or more
voices. In the Cantatas the term is applied to
' The movement actually is marked " Recitatif." See Cantata
180.
3 Op. cit. II. 465.
42 INTRODUCTION
movements for one, two, and three voices. It will
be convenient to set them out in three categories
under the designations Solo, Duetto, Terzetto.
There are three Solo Arias, Nos. 93 c, 93 f, and
loi c, the first for Tenor, the second for Soprano,
the third for Bass. In all of them only snatches of
the Choral melody are introduced.
The Duetto movements are variously described
in Bach's score as "Choral," "Arie," "Arie und
Choral," "Arie (Duett)." The following are the
fifteen examples of this form: Nos. 4 f (S.T.),
36a(S.A.), 37a(S.A.), treat the cantus in canon.
In Nos. 4 b (S. A.), 7 1 (S.T.), 80 b (S.B.), 131a (S.B.),
131 b (A.T.), 156 a (S.T.), is8a(S.B.), and iS9a
(S.A.), the cantus is given in every case to one of
two voices, the first stated in the bracket. In No.
93 d(S.A.), marked "Arie (Duett) und Choral," the
cantus is played by the Strings; in No. 137 c(T.)
by the Tromba. In Nos. loi e (S.A.) and 113 d
(S.A.), the cantus is only suggested.
The single example of the Terzetto form is
No. 122 b (S.A.T.), where the Alto, with the Violins
and Viola, has the cantus.
The Dialogus Choral
Into the Cantata "Ach Gott, wie manches
Herzeleid" (No. 58), for the Sunday after the
Circumcision, 1733, Bach introduced two numbers
INTRODUCTION 43
in which Soprano and Bass voices converse, the
former to the melody of the Choral, the latter in
Recitativo. At about the same time, in " O Ewigkeit,
du Donnerwort" (No. 60), for the Twenty-fourth
Sunday after Trinity, Bach wrote another Cantata
which is also in the form of a conversation between
two characters. Hence their designation as a
"Dialogus" in the score.
Besides these two " Dialogus " Cantatas, there
are twenty-six movements in the Cantatas which
are in the nature of a conversation between the
Choral cantus and- a voice or voices speaking
in Recitativo^. Bach marks them indifferently,
"Recitativ," or "Recitativ und Choral." But they
can be sub-divided into three classes. In the
first, the conversation is between two voices of
contrasted calibre: their numbers are Nos. 49 (S.B.),
58 a (S.B.), 58 b (S.B.), 60 a (A.T.), 106 b (A.B.),
1 26 b ( A.T.), the Choral cantus in every case being
allotted to the first of the two voices stated in the
bracket, except in the case of the last, where both
voices share the cantus. A larger number are move-
ments for a single voice, though improbably for
the same individual voice. They are Nos. 91 b(S.),
' The term does not imply that the literary text invariably is a
dialogue, but that the movement is cast in the form of a musical
conversation between the cantus and Recitativo. Frequently the
latter is a commentary rather than a reply.
44 INTRODUCTION
92 b (B.), 93 b (B.), 93 e (T.), 94 b (T.), 94 c (B.),
loi b (S.), loi d (T.), 113 c (B.), 125 b (B.), and
178 b (A.). The third class of Dialogue Chorals
consists of Choruses which have been classified
already, but belong also to the class under
discussion. They exhibit the same determining
characteristic, in that they consist of alternating
periods of the Choral (S.A.T.B.) and Recitativo for
one or more voices of the chorus. They are Nos.
3 b, 27 a, 73 a, 92 d, 95 a, 138 a, 138 b, 178 d, and
190 a.
The Motetts
It was the custom at Leipzig, both in St Thomas'
and St Nicholas' Churches, for Motetts to be sung,
usually in Latin, at the morning and evening service ;
also, during the communion office, occasionally on
the high festivals, and always on Palm Sunday
and Holy Thursday. Special occasions, and par-
ticularly funerals, also were marked by their
performance. Hence Bach had large opportunity
to write in this form. Yet, no Latin Motetts of
his are extant, though there is evidence suggesting
the conclusion that he wrote one. Of the Motetts
with German texts that have come to us under
Bach's name only six are by him. His barrenness
in this form is explained by the fact that, in
common with the musicians of his period, he held
INTRODUCTION 45
the Motett of little importance beside the Cantata,
the "principal music" of the Church service, and
in general was content to perform other composers'
works \
The following six Motetts indubitably are
Bach's
I
2
3
4.
S
Singet dem Herrn ein neues Lied^.
Der Geist hilft unsrer Schwachheit auf I
Jesu, meine Freude''.
Fiirchte dich nicht, ich bin bei dir^
Komm, Jesu, komm, mein Leib ist miide"
' See Spitta, 11. chap, ix ; Schweitzer, 1 1, chap, xxxi ; Parry,
J. S. Bach (New York, 1909), ch. vii.
2 Psalms cxlix. j-3; cl. 2, 6. Spitta, 11. 603, suggests that the
Motett was composed for New Year's Day.
' Romans viii. 26, 27. The Motett was composed for and per-
formed at the funeral of the Leipzig Professor and Rector, Johann
Heinrich Ernesti, October 16, 1729. The concluding Whitsuntide
Choral is an addition and suggests that Bach made use of the
Motett for that season, to which the original words are congruous.
' The text of the Motett is Johann Franck's Hymn, "Jesu,
meine Freude" (see Cantata 64), and Romans viii. 1, 2, 9, 10,
1 1 . The work was composed for and performed at the funeral of
Frau Reese in 1723. She probably was the wife of a member of the
Prince's Court band at Cothen. As the Bible text is relative to and
in context with the Epistle for the Eighth Sunday after Trinity, it
is possible that Bach used the Motett for that Sunday.
* Isaiah xli. 10, and xliii. i. The date of the Motett is not ascer-
tained. It was composed for the funeral of Frau Winkler, wife of
the deputy Mayor of Leipzig.
s The Motett consists of two stanzas of an Aria text. Neither
the date nor the occasion of the Motett is ascertained.
46 INTRODUCTION
6. Lobet den Herrn, alle Heiden^
Of the six Motetts only the last is without
Choral movements. In form the latter for the most
part are Simple (Motetts 2, 3, 5). A single example
of the Extended form is found in Motett i, and of
the Choral Fantasia or Motett form in Motett 3
(verse 5) and Motett 4I
The Hymns of the "Passions" Oratorios,
Cantatas, and Motetts
Bach employs 1 54 congregational Hymns in his
choral works, of which two ("O Gott, der du aus
Herzensgrund," and " Komm, Gott Schopfer.heiliger
Geist") occur in Cantatas of doubtful authenticity,
and one ("Wenn einer alle Ding verstiind") cannot
be regarded positively as Bach's selection. The
source whence Bach drew so large a supply of
Hymn texts can be indicated readily. Spitta
prints" a "Specification of the property belonging
to and left by Herr Johann Sebastian Bach, de-
ceased July 28, 1750, late Cantor to the school of
1 Psalm cxvii. Neither the date nor the occasion of the Motett
is ascertained.
2 In Motetts for single chorus the sections or lines of the thematic
text were worked out fugato. For examples of this form in the
Cantatas see note, p. 34 supra. The so-called Motett, "Sei Lob
und Preis mit Ehren" (B. G. xxxix. 167), is, with slight alterations,
the second movement of Cantata 1%.
« Op. cit. in. 351-356.
INTRODUCTION 47
St Thomas, in Leipzig." Under the heading
"Theological books in octavo," there is the entry,
"Wagner, Leipziger Gesangbuch, 8 vols.'' It was
valued at one thaler, and was the only Hymn book
in Bach's possession at the time of his death.
Paul Wagner's " Andachtiger Seelen geistliches
Brand- und Gantz-Opfer. Das ist: vollstandiges
Gesangbuch in acht unterschiedlichen Theilen"
was published at Leipzig in 1697. Of the 154
Hymns used by Bach all but eleven are found there\
Of the eleven, all but two (Neander's "Lobe den
Herren, den machtigen Konig der Ehren'' and
Neumann's " Auf, mein Herz") are found in the 1708
edition of Criiger's Praxis Pietatis Meltca. The
choice of Hymn texts therefore need not have
occasioned Bach much research. The following
are the 154 Hymns, tabulated under the names of
their authors :
Johannes Agricola (1492-1566).
Ich ruf zu dir, Herr Jesu Christ.
JOHANN GEORG ALBINUS (1624-79).
AUe Menschen miissen sterben.
Welt, ade ! ich bin dein miide.
Albrecht Margrave of Brandenburg-
culmbach (1522-57).
Was mein Gott will, das g'scheh' allzeit.
^ It contains no tunes.
48 INTRODUCTION
JOHANN Michael Altenburg (i 584-1640).
Verzage nicht, du Hauflein klein.
A NARK OF WiLDENFELS (d. 1539).
to Herre Gott, dein gottlich Wort.
MaTTHAUS AVENARIU.S ( 1 625-92).
O Jesu, meine Lust.
Cornelius Becker (i 561 -1604).
Der Herr ist mein getreuer Hirt.
Martin Behm (1557-1622).
O Jesu Christ, mein's Lebens Licht.
Caspar Bienemann (1540-91).
Herr, wie du willt, so Schick's nit mir.
Franz Joachim Burmeister (1633 f-72).
Es ist genug: so nimm, Herr, meinen Geist.
Elisabethe Cruciger (d. 1535).
Herr Christ, der einig' Gott's Sohn.
Nicolaus Decius (d. 1 541).
O Lamm Gottes unschuldig.
David Denicke (1603-80).
+*Ich will zu aller Stunde.
Kommt, lasst euch den Herren lehren.
tSchau', lieber Gott, wie meine Feind'.
tWenn einer alle Ding verstiind'.
Paul Eber (1511-69).
Helft mir Gott's Giite preisen.
Herr Gott, dich loben alle wir.
Herr Jesu Christ, wahr'r Mensch und Gott.
^ See Cantata 77.
introduction 49
Jakob Ebert (i 549-1614).
^__— — Du Friedefurst, Herr Jesu Christ.
Emilie Juliane Countess of Schwarz-
burg-rudolstadt (1637-1706).
*Wer weiss, wie nahe mir mein Ende.
Paul Flemming (1609-40).
In alien meinen Thaten.
JOHANN FRANCK (1618-77).
Du, O schones Weltgebaude.
Ihr Gestirn, ihr hohlen Liifte.
Jesu, meine Freude.
*Schmucke dich, O liebe Seele.
Michael Franck (1609-67).
Ach wie fliichtig.
Johann Burchard Freystein (1671-1718).
Mache dich, mein Geist, bereit.
Ahashuerus Fritsch (1629-1701).
Hast du denn, Jesu, dein Angesicht gantzlich verborgen.
Liebster Immanuel, Herzog der Frommen.
Caspar Fuger (d. c 1592).
Wir Christenleut'.
Paul Gerhardt (1607-76).
*Barmherzger Vater, hochster Gott.
Befiehl du deine Wege.
Frohlich soil mein Herze springen.
Gott Vater, sende deinen Geist.
Ich hab' in Gottes Herz und Sinn.
Ich steh' an deiner Krippen hier.
Nun danket all' und bringet Ehr'.
O Haupt vol! Blut und Wunden.
O Welt, sieh' hier dein Leben.
T. B. C. 4
so INTRODUCTION
Schaut ! schaut ! was ist fur Wunder dar'.
Schwing' dich auf zu deinem Gott.
Wach auf, mein Herz, und singe.
Warum sollt' ich mich denn gramen.
Was alle Weisheit in der Welt.
Weg, mein Herz, mit den Gedanken.
Wie soil ich dich empfangen.
Wir singen dir, Immanuel.
Zeuch ein zu deinen Thoren.
Justus Gesenius (1601-73).
+0 Gott, der du aus Herzensgrund^.
Johannes G. Gigas (15 14-81).
Ach, lieben Christen, seid getrost.
JOHANN GrAUMANN (1487-IS41).
Nun lob', mein' Seel', den Herren.
Georg Gruenwald (d. 1530).
Kommt her zu mir, spricht Gottes Sohn.
JOHANN HEERMANN (1585-1647).
Herzliebster Jesu, was hast du verbrochen.
O Gott, du frommer Gott.
So wahr ich lebe, spricht dein Gott.
Treuer Gott, ich muss dir klagen.
Was willst du dich betriiben.
, Wo soil ich fliehen hin.
Zion klagt mit Angst und Schmerzen.
LuDwiG Helmbold (1532-98).
Nun lasst uns Gott dem Herren.
Von Gott will ich nicht lassen.
Valerius Herberger (i 562-1627).
Valet will ich dir geben.
' Wagner's version begins, "O seht was ist fur Wunder dar.'
'■' The Hymn occurs in a Cantata of doubtful authenticity.
INTRODUCTION 5 1
NicoLAUs Herman {c. 1485-1561).
Erscliienen ist der herrlich' Tag.
Lobt Gott, ihr Christen alle gleich [alizugleich].
,,-Wenn mein Stundlein vorhanden ist.
JOHANN HERMANN (fl. ? 1 548-63).
,-^Jesu, nun sei gepreiset.
Sebald Heyden (1494-1561)-
O Mensch, bewein' dein' Sijnde grpss.
Ernst Christoph Homburg (1605-81).
1st Gott mein Schild und Helfersmann.
Martin Janus {c. 1620-82).
Jesu, meiner Seelen Wonne.
Justus Jonas (i493-iSSS)-
Wo Gott der Herr nicht bei uns halt.
Christian Keimann (1607-62).
Freuet euch, ihr Christen alle.
.^-"Meinen Jesum lass' ich nicht.
Christoph Knoll (i 563-1650).
Herzhch thut mich verlangen.
JOHANN KOLROSS (d. C. 1558).
Ich dank' dir, lieber Herre.
Salomo Liscow (1640-89).
Also hat Gott die Welt geliebt.
Martin Luther (1483-1546).
Ach Gott, vom Himmel sieh' darein.
Vus tiefer Noth schrei ich zu dir.
Christ lag in Todesbanden.
Christ unser Herr zum Jordan kam.
Christum wir soUen loben schon.
4—2
52 INTRODUCTION
Ein' feste Burg ist unser Gott..
Erhalf uns, Herr, bei deinem Wort.
. Es woir uns Gott genadig sein.
Gelobet seist du, Jesu Christ.
Herr Gott dich loben wir.
Komm, Gott Schopfer, heiliger Geist'.
-=-^omm, heiliger Geist, Her're Gott.
Mit Fried' und Freud' ich fahr" dahin.
Nun bitten wir den heiligen Geist.
Nun komm, der Heiden Heiland.
Vater unser im Himmelreich.
Verleih' uns Frieden gnadiglich.
Vom Himmel hoch da komm ich her.
War' Gott nicht mit uns diese Zeit.
Wolfgang Meusel (1497-1563)-
Der Herr ist mein getreuer Hirt.
Martin Moller (1547-1606).
+Ach Gott, wie manches Herzeleid.
Nimm von uns, Herr, du treuer Gott.
HEINRICH MtJLLER (1631-7S).
Selig ist die Seele.
Joachim Neander (1650-80).
^^-*Lobe den Herren, den machtigen Konig der Ehren.
Caspar Neumann (1648-1715).
*Auf, mein Herz, des Herren Tag.
*Liebster Gott, wann werd' ich sterben?
Georg Neumark (162 1-8 i).
^^ Wer nur den Heben Gott lasst walten.
' The Hymn occurs in one of the Cantatas of doubtful
authenticity.
introduction s3
Philipp Nicolai (1556-1608).
Wachet auf, ruft uns die Stimme.
Wie schon leuchtet der Morgenstern.
Johannes Olearius (161 1-84).
Gelobet sei der Herr.
Trostet, trostet, meine Lieben.
Georg Michael Pfefferkorn (1645-1732).
*Was frag ich nach der Welt'.
Symphorianus Pollio (fl. 1507-33).
Meine Seel' erhebt den Herren.
Adam Reissner (1496-c. 1575).
In dich hab' ich gehofFet, Herr.
BartholomAus Ringwaldt (1532-C. 1600).
^^-Herr Jesu Christ, du hochstes Gut.
Herr Jesu Christ, ich weiss gar wohl.
Martin Rinkart (i 586-1649).
Nun danket alle Gott.
Johann Rist (1607-67).
Du Lebensfurst, Herr Jesu Christ.
Ermuntre dich, mein schwacher Geist.
Hilf, Herr Jesu, lass gelingen.
Jesu, der du meine Seele.
Jesu, du mein liebstes Leben.
O Ewigkeit, du Donnerwort.
O Gottes Geist, mein Trost und Rath.
Werde munter, mein Gemiithe.
Samuel' Rodigast (1649-1708).
Was Gott thut, das ist wohlgethan.
' Wagner has a different text.
54 INTRODUCTION
JOHANN CHRISTOPH RUBE (1665-1746).
Wohl dem, der sich auf seinen Gott.
CHRISTOPH RUNGE (1619-81).
Lasst Furcht und Pein.
Gottfried Wilhelm Sacer (1635-99)
Gott fahret auf gen Himmel.
Hans Sachs (1494-1576).
tWarum betriibst du dich, mein Herz.
Martin Schalling (1532-1608).
Herzlich lieb hab' ich dich, O Herr.
Johann Hermann Schein (1586-1630).
Mach's mit mir, Gott, nach deiner Gut'.
Cyriacus Schneegass (1546-97).
,_ Ach Herr, mich armen Sunder.
^ — Das neugebor'ne Kindelein.
Johannes Schneesing (d. 1567).
AUein zu dir, Herr Jesu Christ.
Balthasar Schnurr (1572-1644).
O grosser Gott von Macht.
Johann Jakob Schutz (1640-90).
*Sei Lob und Ehr' dem hochsten Gut.
NiCOLAUS SeLNECKER ( 1 532-92).
Ach bleib' bei uns, Herr Jesu Christ.
Lazarus Spengler (1479-1534).
Durch Adams Fall ist ganz verderbt.
Paul Speratus (1484-1551).
Es ist das Hell uns kommen her.
introduction $5
Paul Stockmann (1602 ?-36).
Jesu Leiden, Pein und Tod.
Christoph Tietze (1641-1703).
Ich armer Mensch, ich armer Sunder.
JOSUA WeGELIN (1604-40).
Auf Christi Hiramelfahrt allein.
SiGISMUND WEINGARTNER (fl. 1607).
+Auf meinen lieben Gott.
Michael Weisse (1480?- 15 34).
Christus, der uns selig macht.
Georg Weissel (1590-1635).
Nun liebe Seel', nun ist es Zeit.
Georg Werner (i 589-1643).
*Ihr Christen auserkoren.
Caspar Ziegler (1621-90).
Ich freue mich in dir.
Anonymous.
Ach Gott und Herr.
Christ ist erstanden.
*Christe, du Lamm Gottes.
Christus, der ist mein Leben.
Ein Kind geborn zu Bethlehem.
Freu' dich sehr, O meine Seele.
Herr Jesu Christ, ich schrei zu dir.
Komm, Jesu, komm, mein Leib ist miide.
Singen wir aus Herzensgrund.
t The authorship of these Hymns is doubtful.
* The eleven Hymns marked with an asterisk are not in
Paul Wagner's Hymn book.
$6 INTRODUCTION
TheiJymn Tunes used by Bach
During his Cantorship at Leipzig Bach system-
atically collected, harmonised, and in some cases
refashioned, Hymn tunes whose qualities attracted
him. At the time of his death he had brought
together about two hundred and forty melodies in
a manuscript which unfortunately has disappeared.
In 1764 it was in the possession of the Leipzig
music seller, Bernhard Christoph Breitkopf, into
whose hands it passed, presumably, in the lean
years that befell Bach's widow after his death in
1750. In Breitkopf's catalogue (1764) the work is
described as "Bachs, J. S. Vollstandiges Choral-
buch mit in Noten aufgesetzten Generalbasse an
240 in Leipzig gewohnlichen Melodien." Copies
of it were offered at the price of ten thalers'. But,
as none exist, it is doubtful whether the " Choral-
buch " in fact was published in that fjprm and year.
It would appear, however, that the greater part
of Bach's collection was published in different
works before and after his death. In 1736 Georg
Christian Schemelli, "Schloss-Cantor" at Naum-
burg-Zeitz, in Saxony, published a " Musicalisches
Gesang-Buch, Darinnen 954 geistreiche, sowohl
alte als neue Lieder und Arien, mit wohlgesetzten
Melodien, in Discant und Bass, befindlich sind"
' See Spitta, III. chap. iv.
INTRODUCTION 57
(Breitkopf, Leipzig, 1736). Bach was invited to
prepare the collection for the press. Its tunes, the
Preface declared, were either " ganz neu " com-
posed by him, or had been supplied by him with
a Bass. The 954 Hymns share between them
no more than sixty-nine melodies, about a quarter
of which are Bach's own compositions^ The
Preface announced that about two hundred more
melodies were ready for a second edition, should
one be called for, as unhappily was not the case.
It would seem, therefore, that Bach proposed to
place his whole collection at Schemelli's service.
Bach continued his collection of Hymn tunes,
in spite of the cold reception given to Schemelli's
volume. To his own copy of the book he added
eighty-eight harmonised Chorals. Among the
effects of Philipp Emmanuel Bach in 1790 appears
"The Naumburg Hymn book, containing printed
Chorals and also eighty-eight Chorals written out
in parts." Unhappily, it cannot be traced. Mean-
while in 1764 Breitkopf of Leipzig acquired a MS.
containing one hundred and fifty four-part Hymn
tunes harmonised by Bach. Simultaneously, the
Berlin printer Friedrich Wilhelm Birnstiel resolved
' Spitta follows C. F. Becker's edition of the " Kirchengesange ''
in supposing that Bach wrote twenty-nine tunes for Schemelli (in.
Ill n.). Zahn, however, VI. 316, accounts positively for forty-eight
tunes. Twenty-one remain. Not all of them are Bach's. On the
whole question of Bach's original Hymn tunes see infra, p. fi;.
S8 INTRODUCTION
to issue a printed edition of Bach's Chorals. He
invited Philipp Emmanuel Bach to edit and preface
it with an Introduction. In 1765 the book was
issued. It numbered fifty pages containing one
hundred Hymn tunes, and bore the title : " Johann
Sebastian Bachs vierstimmige Choralgesange ge-
sammlet von Carl Philipp Emmanuel Bach "
(Berlin & Leipzig, 1765). A second Part, with
which Philipp Emmanuel was not associated, was
published in 1769. It contained one hundred
more Hymn tunes, among them, "O Herzensangst,
O Bangigkeit," "Gottlob, es geht nunmehr zum
Ende," and "Nicht so traurig, nicht so sehr,"
Twenty years followed the publication of the
first Part of Birnstiel's edition before Breitkopf
issued a completer collection of Bach's Chorals in
four Parts between the years 1784 and 1787.
Philipp Emmanuel edited this collection also. Its
first Part, published at Leipzig in 1784, bore the
title: "Johann Sebastian Bachs vierstimmige Choral-
gesange, Erster Theil. Leipzig bey Johann Gottlob
Immanuel Breitkopf" The second, third, and
fourth Parts were issued in 1785, 1786, and 1787
respectively, the whole collection containing three
hundred and seventy^ Chorals, including a large
number from Bach's extant Church compositions.
1 A 3rd edition, dated 1831, contains three hundred and
seventy-one.
INTRODUCTION 59
Finally, in 1843, Carl Ferdinand Becker (1804-77),
Organist of St Nicholas' Church, Leipzig, issued a
collection of two hundred and ten four-part Hymn
settings, under the title "Joh. Seb. Bachs vierstim-
mige Kirchengesange '' (Leipzig: Robert Friese).
Two more recent collections of Bach's Chorals
are accessible and inexpensive. The earlier, Ludwig
Erk's "Johann Sebastian Bach's mehrstimmige
Choralgesange und geistliche Arien," is published
by C. F. Peters, Leipzig, in two volumes (Prefaces
dated 1850 and 1865) which contain three hundred
and nineteen Choral settings. Erk gives some of
the longer as well as the simple Hymn settings,
besides some tunes drawn from other sources than
those which the second of the two collections ex-
plores. The latter, "Johann Sebastian Bach's Werke.
Fiir Gesang. Gesammtausgabe fur den prak-
tischen Gebrauch. vii. Choralgesange" (Leipzig,
1898), edited by Bernhard Friedrich Richter, con-
tains three hundred and eighty-nine Chorals, in-
cluding one hundred and eighty-five edited by ,
Philipp Emmanuel Bach 1784-87 which were not
used in Bach's extant Cantatas. They are printed
from B. G. xxxix ("Arien und Lieder"), which
contains them all. Richter's edition also includes
a complete collection of the Simple Chorals used in
Bach's Oratorios, " Passions," Cantatas, and Motetts.
Reference is made to it throughout the following
6o INTRODUCTION
pages, and to Erk in cases where he prints a setting
not found in Richter's "Choralgesange."
Of this great corpus of Choral music Bach
introduces into his concerted Church works — the
"Passions," Oratorios, Cantatas, Motetts — one
hundred and four Hymn tunes, including, how-
ever, one which occurs in a Cantata of doubtful
authenticity. Besides these one hundred and four
melodies. Bach uses twenty-eight in his Organ
works that are not found elsewhere in his music.
Therefore, excluding his own compositions, it ap-
pears that he introduced into the works that have
come down to us the following one hundred and
thirty-two Hymn tunes :
JOHANN RODOLF AHLE (1625-73).
Es ist genug; so nimm, Herr, meinen Geist.
Liebster Jesu, wir sind hier'^.
Heinrich Albert (1604-51).
Gott des Himmels und der Erden.
JoHANN Michael Altenburg (1584-1640).
Herr Gott, nun schleuss den Himmel auj.
Louis Bourgeois (fl. 1541-61).
Ainsi qu'on oit le cerf bruire^.
Leve le cosur, ouvre Voreille^.
1 Originally (1664) set to "Ja, er ists, das Heil der Welt."
The melodies in italic type occur only in the Organ works.
» Also known as "Freu' dich sehr, O meine Seele," and "Wie
nach einer Wasserquelle."
* In Bach, "Wenn wir in hochsten Nothen sein."
INTRODUCTION 6l
On a beau son maison bastir^.
Or sus, serviteurs du Seigneur 2.
Seth Calvisius (1556-1615).
In dich hab' ich gehoffet, Herr.
JOHANN CrUGER (1598-1662).
Du, O schones Weltgebaude.
Herzliebster Jesu, was hast du verbrochen.
Jesu, meine Freude.
Jesus, meine Zuversicht^.
Nun danket alle Gott.
O Ewigkeit, du Donnerwort*.
Schmiicke dich, O liebe Seele.
Wolfgang Dachstein (d. c. 1561).
An Wasserfliissen Babylon^.
NicoLAUs Decius (d. 1 541).
AUein Gott in der Hoh' sei Ehr".
O Lamm Gottes unschuldig.
JOHANN GEORG EBELING (1637-76).
Warum soUt' ich mich denn gramen.
Wolfgang Figulus {c 1520-91).
Helft mir Gott's Giite preisen (second melody).
Melchior Franck (d. 1639).
O grosser Gott von Macht'.
Michael Franck (1609-67).
Ach wie flUchtig.
' In Bach, " Herr Jesu Christ, wahr'r Mensch und Gott."
' In Bach, " Herr Gott, dich loben alle wir."
s Authorship doubtful.
^ A reconstruction of Johann Schop's "Wach auf, main Geist."
62 INTRODUCTION
Caspar Fuger (d. 1617).
Wir Christenleut'.
Giovanni Giacomo Gastoldi (1556?- 1622).
In dir ist Freude.
Bartholomaus Gesius (15SS ?— 1613-4).
Du Friedefurst, Herr Jesu Christ.
Heuf triumphiret Gottes Sohn.
MatthAUS Greitter (d. 1550 or 1552).
Es sind doch selig alle'.
Andreas Hammerschmidt (1612-75).
Freuet euch, ihr Christen alle^.
Meinea J-esum lass' ich nicht^.
Hans Leo Hassler (1564-1612).
Herzlich thut mich verlangen'-
Bartholomaus Helder (i585?-i635).
Das Jesulein soil doch mein Trost.
NicoLAUS Herman (1485 ?-i56i).
Erschienen ist der herrlich' Tag.
Lobt Gott, ihr Christen alle gleich [allzuglpich].
Wenn mein Stiindlein vorhanden ist.
Heinrich ISAAK (b. c. 1440).
O Welt, ich muss dich lassen*.
Johann Kugelmann (d. 1542).
Nun lob', mein' Seel', den Herren^.
^ Better known as "O Mensch, bewein' dein' Siinde gross."
^ Authorship doubtful.
3 Also known as "O Haupt voll Blut und Wunden," and " Ach
Herr, mich armen Sunder."
* Also sung to " Nun ruhen alle Walder."
introduction 63
Martin Luther (1483-1546).
Aus tiefer Noth schrei ich zu dir".
Ein' feste Burg ist unser Gott.
Mit Fried' und Freud' ich fahr' dahin'.
Vom Himmel hoch da komm ich her'.
Georg Neumark (1621-81).
Wer nur den lieben Gott lasst walten.
Philipp Nicolai (1556-1608).
Wachet auf, ruft uns die Stimme'.
Wie schon leuchtet der Morgenstern'.
Johann Rosenmuller (1619-84).
Welt, ade ! ich bin dein miide.
Johann Hermann Schein (i 586-1630).
Mach's mit mir, Gott, nach deiner Giit'.
Johann Schop (d. c. 1665).
Ermuntre dich, mein schwacher Geist.
Werde munter, mein Gemiithe.
Johann Steurlein (i 546-161 3).
Das alte Jahr vergangen z'st^.
Caspar Stieler (1679).
Wo soil ich fliehen hin'.
Melchior Teschner (1614).
Valet will ich dir geben.
Daniel Vetter (d. 1721).
Liebster Gott, wann werd' ich sterben ?
1 Authorship doubtful.
^ Originally set to Herman's "Gott Vater, der du deine Sonn.''
64 introduction
Gottfried Vopelius (1645-1715).
Also hat Gott die Welt geliebt.
Sei gegriisset, Jesu giitig^.
Melchior Vulpius (i56o?-i6i5).
Christus, der ist mein Leben.
Das neugebor'ne Kindelein.
Jesu Kreuz, Leiden und Peln.
JOHANN WALTHER (1496-IS70).
Christ unser Herr zum Jordan kam".
Erbarm' dich mein, O Herre Gott^.
Jesus Christus, unser Heiland, Der den Tod^.
Jesus Christus, unser Heiland, Der von uns'^.
War* Gott nicht mit uns diese Zeit'.
Anonymous.
Ach Gott und Herr.
Ach Gott, vom Himmel sieh' darein.
Alle Menschen miissen sterben (171 5).
Alle Menschen miissen sterben (1687).
AUein zu dir, Herr Jesu Christ.
Auf meinen lieben Gott^.
Christ, der du bist der helle Tag.
Christ ist erstanden.
Christ lag in Todesbanden.
Christe, du Lamm Gottes.
Christum wir sollen loben schon^
Christus, der uns selig macht.
Da Jesus an dem Kreuze stund*.
' Authorship doubtful.
^ Or "Wo soil ich fliehen hin."
' Or "Was fiircht'st du, Feind, Herodes, sehr."
" Originally set to "In dichhab' ich gehoffet, Herr."
INTRODUCTION 6$
Danket dem Herrn, heut' und allzeit'.
£>er Tag, der ist so freudenreich.
Dies sind die heil'gen zehn Gebot.'
Durch Adams Fall ist ganz verderbt.
Ein Kind geborn zu Bethlehem (Puer natus in
Bethlehem) 2.
Erhalt' uns, Herr, bei deinem Wort.
Erstanden ist der heiVge Christ.
Es ist das Heil uns kommen her.
Es woll' uns Gott genadig sein.
Gelobet seist du, Jesu Christ.
Gottes Sohn ist kommen^.
Herr Christ, der einig" Gott's Sohn*.
Herr Gott dich loben wir.
Herr Jesu Christ, dich zu uns wend'.
Herr Jesu Christ, du hochstes Gut.
Herr Jesu Christ, mein's Lebens Licht^
Herr, wie du willt, so Schick's mit mir.
Herzlich lieb hab' ich dich, O Herr.
Hilf Gott, dass mir's gelingd
Ich hab' mein Sach' Gott heimgestellt.
Ich dank' dir, lieber Herre.
Ich freue mich in dir.
Ich ruf zu dir, Herr Jesu Christ.
In dich hab' ich gehoffet, Herr (ij6o).
In dulci jubilo.
Ist Gott mein Schild und Helfersmann.
Jesu, der du meine Seele.
' Also sung to " Ach bleib' bei uns, Herr Jesu Christ.''
''■ Also known as "Vom Himmel kam der Engel Schaar."
' Originally "Ave ierarchia Celestis et pia." Also known as
' Gott, durch deine GUte."
* Also sung to Selnecker's " Herr Gott, nun sei gepreiset."
6 Also known as "Ach Gott, wie manches Herzeleid."
T. B. C. 5
66 INTRODUCTION
Jesu, nun sei gepreiset.
Komm, Gott Schopfer, heiliger Geist'.
Komm, heiliger Geist, Herre Gott.
Kommt her zu mir, spricht Gottes Sohn.
Kyrie, Gott Vater in Ewigkeit^.
Liebster Immanuel, Herzog der Frommen.
Lob sei dem allmdchtigen Gott^.
Lobe den Herren, den machtigen Konig der Ehren*.
Meine Seele erhebt den Herren.
Nun bitten wir den heiligen Geist.
Nun freut euch, lieben Christen g'mein^
Nun komm, der Heiden Heiland.
Nun lasst uns Gott dem Herren.
O Gott, du frommer Gott (1646)°.
O Gott, du frommer Gott (1679)'.
O Gott, du frommer Gott (1693).
O Herre Gott, dein gottlich Wort.
Schwing' dich auf zu deinem Gott.
Singen wir aus Herzensgrund^
Straf mich nicht in deinem Zorn'.
Vater unser im Himmelreich.
Verleih' uns Frieden gnadiglich.
Von Gott will ich nicht lassen'".
Warum betriibst du dich, mein Herz.
' The tune occurs in a Cantata of doubtftil authenticity.
■^ Included in this title are the second and third stanzas : " Christe,
aller Welt Trost," and " Kyrie, Gott heiliger Geist."
•' Originally "Conditor alme siderum."
■* Or "Kommst du nun, Jesu, vom Himmel herunter," or "Hast
du denn, Jesu, dein Angesicht gantzlich verborgen."
^ Also known as "Es ist gewisshch an der Zeit."
" Originally "Gross ist, O grosser Gott."
'' Also known as " Die WoUust dieser Welt."
" Also known as "Da Christus geboren war."
" Also known as "Mache dich, mein Geist, bereit."
'" Also known as "Helft mir Gott's Gilte preisen."
INTRODUCTION 67
Was Gott thut, das ist wohlgethan.
Was mein Gott will, das g'scheh' allzeit.
Wo Gott der Herr nicht bei uns halt'.
Wir danken iiir, Herr Jesu Christ^.
Wir glauien alV an einen Gott, Schopfer.
Wir glauben all' an einen Gott, Vater.
Back's Original Hymn Tunes
Though the topic is engrossing, little effort has
been made to identify Bach's original Hymn tunes
and to sift those which unquestionably are his from
others attributed to him wrongly. Carl von Winter-
feld, who first gave the subject critical examination,
left a heavy legacy of error, which Ludwig Erie did
somewhat to lighten. Spitta' devotes a few pages
to the subject, but they are disfigured by very
serious mistakes. Schweitzer carries the investi-
gation no farther and merely records the conjectures
of others. It will be useful, therefore, though the
enquiry is not directly relative to the Cantatas and
Motetts, to explore the subject in the light of
information which Spitta did not possess.
' Also known as "Ach lieben Christen, seid getrost."
^ Attributed doubtfully to Johann Eccard (1553-1611). Origin-
ally "Herr Jesu Christ, wahr'r Mensch und^Jott."
' Vol. HI. 111-115. Schweitzer, 11. 300, gives a list of Hymn
tunes "supposed to be by Bach" but does not determine their genuine-
ness. In addition to those discussed below he includes ' ' Ich lass
dich nicht," a melody (Zahn, No. 74S5) first printed in a Leipzig
collection in 1727 and without any indication of Bach's style.
s— 2
68 INTRODUCTION
At the outset, it is advisable to clear the ground
by eliminating tunes which have been or are
asserted to be by Bach and demonstrably are not.
Spitta names^ ten Hymn tunes which are stated to
be Bach's by Winterfeljl or others. In fact not one
of them is by him. They are as follows :
(i) Alles ist an Gottes Segen {Ckoralgesdnge,
No. 19). Zahn, Nos. 3839-3842 b, prints five settings
of the Hymn from German Hymn books between
1 73 1 and Bach's death in 1750. Their common
source appears to be G. Voigtlander's secular tune
(1647), "Fillis sass an einem Bottgen" (Zahn,
No. 3838). Bach's is a variation of the original
tune. Konig has two settings closely cognate to
Bach's (Zahn, Nos. 3841, 3842 a).
(2) Auf, auf, mein Herz, und du mein gamer
Sinn (Erk, No. 162 ; Ckoralgesdnge, No. 24). The
melody (Zahn, No. 824) is by Johann Staden
(1S81-1634).
(3) Dank set Gott in der Hoke {Ckoralgesdnge,
No. 54). The tune was published by Bartholomaus
Gesius in 1605 (Zahn, No. 5391) to the anonymous
Hymn, "Jesus Christ, unser Herre," and perhaps is
his own composition.
(4) Das wait' Gott Vater und Gott Sokn
{Ckoralgesdnge, No. 58; Erk, No. 182). The tune
' Vol. in. 11511.
INTRODUCTION 69
was published by Daniel Vetter in 17 13 (Zahn,
No. 673).
(5) Herr, nun lass' tn Friede {Choralgesdnge,
No. 148 ; Erk, No. 227). The tune is found in the
Hymn book of the Bohemian Brethren in 1694
(Zahn, No. 3302).
(6) 1st Gott mein Schild und Helfersmann
{Choralgesdnge, No. 216; Erk, No. 78). The tune
is printed in a Dresden collection of 1694 (Zahn,
No. 2542. See Cantata 85).
(7) Meinen Jesum lass' ich nicht. There are
two tunes to this Hymn in Bach's collections. One,
which Bach uses in several Cantatas (see Cantata
70), is perhaps by Andreas Hammerschmidt and
dates from 1658 (Zahn, No. 3449; Choralgesdnge,
No. 242 ; Erk, No. 88). The second {Choralgesdnge,
No. 241) dates from 1686 (Zahn, No. 3448 a).
(8) O Jesu, du mein Brdutigam {Choralgesdnge,
No. 145). The melody is the old tune " Rex
Christe factor omnium," and is found in print in
1527 (Zahn, No. 314 a).
(9) O Mensch, schau Jesum Christum an
{Choralgesdnge, No. 287 ; Erk, No. 282). The
melody is as old as ISSS, when it appears in asso-
ciation with Triller's Hymn, "Der Herr Gott sei
gepreiset" (Zahn, Nos. 3984, 3994 a). It is found
also in a collection dated 1603, to which the Choral-
gesdnge refers it.
70 INTRODUCTION
(lo) Schwing dich auf zu deinem Gott {Choral-
gesdnge. No. 305 ; Erk, No. 1 14). The tune
is as old as 1680 (Zahn, No. 4870). See
Cantata 40.
Sjpitta himself attributes the following melodies
to Bach, inaccurately in every case :
(i) Also hat Gott die Welt geliebt (it is neither
in the Choralgesdnge nor Erk). The tune is by
Gottfried Vopelius and dates from 1682 (Zahn,
No. 5920). See Cantata 68.
(2) Alle Menschen miissen sterben. There are
two tunes to this Hymn in Bach's collections. One
{Choralgesdnge, No. 17 ; Erk, No. 158) is by Jakob
Hintze (1622- 1702) (Zahn, No. 6778). It is in
Hymns A. & M., No. 127 ("At the Lamb's high
feast we sing"). The second melody (Choral-
gesdnge, No. 18; Erk, No. 159) demands a more
intricate examination. It occurs in Cantata 162
and is discussed there m/ra at length.
(3) Da der Herr Christ zu Tische sass {Choral-
gesdnge, No. 52 ; Erk, No. 178). The tune dates
from 1611 (Zahn, No. 2503).
(4) Fiir Freuden lasst uns springen {Choral-
gesdnge, No. 106). The tune occurs in 1648 (Zahn,
No. 2339).
(5) Herr Jesu Christ, du hast bereit {Choral-
gesdnge, No. 140 ; Erk, No. 222). The tune is found
in a Silfesian MS. collection dated 1742 as well as in
INTRODUCTION 71
Reimann's collection in 1747 (Zahn, No. 47 11).
Bach's version differs slightly from both.
(6) Ich freue mkh in dir {Choralgesdnge,
No. 181 ; Erk, No. 64). The melody occurs in
Cantata 133 and is there discussed. The balance
of probability is against Bach's authorship.
(7) Meines Lebens letzte Zeit {Choralgesdnge,
No. 248). The tune is found in a Gbtha Psalter of
1726 (Zahn, No. 6.380). •■
(8) So giebst du nun, mein Jesu, gute Nacht
{Choralgesdnge, No. 310). The tune dates from
1694 (Zahn, No. 849).
We can pass now to a number of tunes which are
found for the first time in one or other of the Bach
collections and, for that reason, establish a pre-
sumptive right to be regarded as his compositions.
They number forty-two.
In the Notenbiichlein vor Anna Magdalena
Bach, which bears the date 1725 on the cover, there
are seven Choral tunes which are not found in
print before that date :
1 Dir, dir, Jehovah, will ich singen.
2 Gedenke doch, mein Geist, zuriicke.
3 Gieb dich zufrieden und sei stille.
4 Gieb dich zufrieden und sei stille (another tune,
in F ma.).
5 Schaflfs mit mir, Gott, nach deinem Willen.
72 INTRODUCTION
6 Warum betriibst du dich Und beugest dich zur
Erden.
7 Wie wohl ist mir, O Freund der Seelen.
In Schemelli's Hymn book of 1736 there are
twenty-one tunes not found in any earlier collection :
8 Ach, dass nicht die letzte Stunde.
9 Auf, auf, die rechte Zeit ist hier.
10 Beschrankt, ihr Weisen dieser Welt.
1 1 Dich bet ich an, mein hochster Gott.
1 2 Eins ist noth ; ach Herr, dies eine.
13 Gott, wie gross ist deine Giite.
14 Ich halte treulich still.
15 Ich liebe Jesum alle Stund.
16 Ich steh' an deiner Krippen hier.
17 Jesu, deine Liebeswunden.
18 Jesu, Jesu, du bist mein.
19 Komm, siisser Tod ! komm, selge Ruh !
20 Kommt, Seelen, dieser Tag.
21 Kommt wieder aus der finstern Gruft.
22 Liebster Herr Jesu, wo bleibst du.
23 Mein Jesu, was vor Seelenweh.
24 O finstre Nacht, wann wirst du doch vergehen.
25 O liebe Seele, zieh die Sinnen.
26 Selig, wer an Jesum denkt.
27 So wiinsch ich mir zu guterletzt.
28 Vergiss mein nicht, mein allerliebster Gott.
In the second Part (1769) of F. W. Birnstiel's
Choraigesdnge there are three new Choral tunes :
29 Gottlob, es geht nunmehr zum Ende.
30 Nicht so traurig, nicht so sehr.
31 O Herzensangst, O Bangigkeit und Zagen.
INTRODUCTION 73
In the third Part of Carl Philipp Emmanuel's
Choralgesdnge (1786) there is one new melody :
32 Ich bin, ja, Herr, in deiner Macht.
In Becker's collection (1843) there are two
Choral tunes attributed to Bach by Zahn :
33 Singt dem Herren, singet.
34 Was betriibst du dich, mein Herze.
Spitta prints^ five Choral tunes which have
come down to us through Bach's pupil, Johann
Ludwig Krebs :
35 Das wait' mein Gott, Gott Vater, Sohn.
36 Gott, mein Herz dir Dank zusendet.
37 Hier lieg ich nun, O Vater aller Gnaden.
38 Ich gniige mich an meinem Stande.
39 Maine Seele, lass' es gehen.
Finally there are two Choral Arias in the
"Christmas Oratorio," Nos. 38-40, 42:
40 Hilf, Herr Jesu, lass' gelingen.
41 Jesu, du mein liebstes Leben.
And another in the fifth Motett :
42 Komm, Jesu, komm, mein Leib ist miide.
The last three are the only tunes of his own
composition which Bach has wedded to the stanzas
of a congregational Hymn in the whole range of
his concerted Church musics
' Vol. III. 401-403.
' See Bach's Chorals, Part I, 55, 54.
74
INTRODUCTION
"ACH, DASS NICHT DIE LETZTE STUNDE"
Schemelli 1736 no. 831
^
iE
B
^-m-ft-
^^le
=^3^
S
6 76 76 76 ^ 5 76 76 70 %
i
Ei
-^— I— I-
^
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m
# 6 ft 6 ft
7 S
5 8 7 ft
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It
fc=d^
iF
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J?:e
IE
^
^
4 ft
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Zahn, No. 6721, regards the above melody as
"probably," and the Bass as "certainly," by Bach.
INTRODUCTION
75
The melody is not found in any other Hymn book.
It has the characteristics of Bach's Hymn tunes,
and may be attributed to him.
"AUF, AUF, DIE RECHTE ZEIT 1ST HIER "
Schemelli 1736 no. 171
Tt
P=p:=p:
^^^
^:^
1==t:^
^ffi
g
6 6 7 7
7 6
5 5
6
5 #
:^^
mm
^
^^
r\ I t^ . ^
^-i^e
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6 0 6 ,'6
4#
6
5 4 3
i^
P:r:
^^^i^
^
Ziahn, No. 705, regards this melody as "perhaps "
by Bach. It is not found elsewhere. Apart from
that circumstance the tune does not suggest Bach's
authorship. The repeated concludingphrase is not
required Isy Martin 'Opitz' Hymn, which is one of
four lines. As is so often the case where Bach's
Hymn tunes are in question, Johann Balthasar
Konig (1691-1758) has a melody on the Hymn in
hx&'ffarmonischer Lieder-Schatz (1,738). As the
76
INTRODUCTION
Hymn practically had been neglected since Jakob
Hintze gave it a melody in 1666, it is curious that
Bach and Konig, the one at Leipzig and the other
at Frankfurt a. Main, should have turned their
attention to it simultaneously.
"Beschrankt, ihr Weisen dieser Welt"
Schemelli 1736 no. 689
fprnrnffm^
65
6 43
6
4
2 6 5
Bi
S
^
f=0^W
:^?z:
s
?
*t
/»-^i r >*
S
r 1 1' ^L,
^::i:
^
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6 6 7
5 4 #
6 7 6 6
m
^^
at
^^
/r
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i
*ia*'JJ,
Ftt^
# 2
6 4 6 6
6 4 3 6 4 4
^
^
P^
INTRODUCTION
77
itf/^r'r ^— vi--^-° v^*--
6 5 6
5 4Jt 3466 7 7
g> g _[ — V*-g- r :^^J-,--g.4— --
1 1 ^—-i^^^ M— J «-i-| l-J
i
M
:p=i«
^
«=;=
3^
^
4 3
7
7 5
6 7 9 7 # 5 2
4#
e^lTjJ
i
^=*
i^^
"^f^^fa?^
^
^
s
^E^
6 6
5 0 4 6 5|7 5 #
rrirj^ur
«#:
Piiff:
^
6 6 6
5 6 4 5
^
f
?
i:
Zahn, No. 7765, attributes the above melody to
Bach without qualification. Indeed, it declares his
78
INTRODUCTION
authorship unmistakeably. It is not founds in any
other Hymn book.
"Das WALT' MEIN GOTT, GoTT Vater, Sohn "
Krebs MS.
1
i
5b;
W
:^^-~ni Jr J I J-j^gtp^yg
0 S W- TS
6 54 5
4 32 3
S^
q=::=t
???
g^g:
i I 'I ' f
£^
^±1
^ ' -0- ^
^^^^S^IS^^
^ME^tS
The Hymn's earliest tune is found in the Gotha
Cantional of 1648. Zahn (No. 4217) conjectures
that it was derived from a secular source. It had' a
wide vogue in Hymn books of the second half of thfe
INTRODUCTION
79
seventeenth and first half of the eighteenth century.
Jakob Hintze in idgowroteaminormelodyindirectly
based upon it, the last phrase of which is identical
with Krebs' MS. The latter cannot be regarded as
an original tune, and is not at all in Bach's idiom.
"DlCH BET ICH AN, MEIN HOCHSTER GOTT"
Schemelli 1736 no. 396
^?$f
^^:^Wm--B:
^a^^^^^^m
1 6
7# 6 5
4
2 6
zrSt
¥
*pt
E
^
s
m
^
f^
5 #
3t=!*:
-*^r-
£El^
6
6 5
6
4
6 2
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8o
INTRODUCTION
Zahn, No. 2437, attributes the above melody to
Bach without qualification. It is characteristic of
his Aria form and is certainly his. It is not found
elsewhere.
"DiR, DiR, Jehovah, will ich singen"
Notenbiichlein 1725 p. ji
f % Jirr/fri
tr
Tf 0\
tr
JSC
^^
^
>^^irr>.
TT^nju
i^i
:f:±t
INTRODUCTION
8l
m=^id.\rr ^ \J^^
^•'r FH=#-^Pfj^er- ctr
^
F5=i^
^^
fe!iz
^
eit=tc
tsg=r r ifDI?
Bach's authorship of the tune is vouched for
by Philipp Emmanuel Bach. On p. 50 of the
Notenbiichlein^- the tune is also printed in four-part
harmony over the same Bass (Erk, No. 19 ; Choral-
gesdnge. No. 67). Zahn, No. 3068, prints the melody
only, from Schemelli, No. 397. Erk, No. 20, adds
the figured Bass from the latter book. It differs
from the Notenbiichlein. The tune is not found in
other Hymn books.
1 B. G. xliii (ii).
T. B. C. 6
82
INTRODUCTION
"EiNS 1ST NOTH ; ACH HERR, DIES EINE"
Schemelli 1736 no. 112
i5B^r3fl'cFP:jJ^j^
8 7 6
777# 6 87 6 5
m
^i3t
3S:
1^=^=^
W¥=^
ff
'r ti^ J:
:«i^
6 6
w
6 St^ 9 6
■ft-m-.m^ Jf^
■td=e
c££r^
ati&i^rz^
1-9 ^1,11 \ n
7f ^ ^ J *-a» 1 — 1
6 7
6 4 5 6 6 5
5 6 2265463
1^-^-^-^— -- Ub-f-J — 1 ^
INTRODUCTION
83
The groundwork of the customary melody of
the above Hymn is Joachim Neander's "Grosser
Prophete, main Herze begehret," published in
1680 (Zahn, No. 3947). A large number of
variations of that tune exist, one of which (Zahn,
No. 7127) is set to the Hymn " Eins ist noth" in
Freylinghausen's Hymn book (1704). That Bach
was familiar with the tune appears from the fact
that, with an altered first part, it is among the
Choralgesange of 1769, set to the same Hymn (Erk,
No. 193 ; Choralgesange, No. Tj"). The Schemelli
tune, though modelled on the Neander-Freyling-
hausen form, is a new melody. Zahn, No. 7129,
attributes it to Bach without qualification, and
certainly correctly. It is not found in any other
eighteenth century Hymn book.
"GEDENKE DOCH, MEIN Geist, zurucke"
Notenbiichlein 1725 p. 52
%
^VirrFce
t=±i
m
^
■ *«J — '-'^^ ^— ' —
----p-
6—2
84
INTRODUCTION
K ^r.hJJJ
^
■^-p-
^
APri^r^ih'l^
~n^n — ~
^
The melody is an ^r«« — it is so called in the
MS. — rather than a Hymn tune. It is copied in
Anna Magdalena's hand' and indubitably is by
Ba;ch.
"GlEB DICH ZUFRIKDEN UND SEI STILLE"
Notenbuchlein iy2^ p. 31
f^r cc^r- Tir ^^-^
iiMymiiir []^P^
zai
bE
m
w-M J I JO
^
^
^ Spitta, II. 150.
INTRODUCTION
85
prffQ^JelrJJJj
B
BZ^
?
^I^jll
The melody and Bass are by Bach. Spitta'
draws attention to the "lofty and individual beauty"
of the tune. The Bass is unfigured.
On the same page of the Notenbiichlein the
melody, with a slightly altered Bass, is given in
E minor {Choralgesdnge, No. in). Erk, Nos. 43
and 208, gives both forms. Zahn, No. 7417a, and
Erk, No. 44, give the E mi. version in a somewhat
different form.
1 Vol. in. 113.
86
INTRODUCTION
"GlEB DICH ZUFRIEDEN UND SEI STILLE"
Notenbiichlein \T2.'e, p. 30
(
-A '■fe— Ttr 1-
1 — f — 1 — — -1
-^-^^ --^
•J
^E^
\
se^i —
" f'^'^J'
^^^^U^^l^l' u
(j^'Tfifrri
feg=ke*ftf^
te
rt=
L:^i_Jij:^JI^=^^=^=F^^
^^
.2L__j=2__(e_«___^_fa.
rs2=
^
^frrr^^
P
ppt
^
INTRODUCTION
87
Spitta remarks' of the melody, that it " leaves
us in doubt as to its composer ; it is strikingly
simple for a composition of Bach's ; but at all
events it is new." Konig prints an almost identical
melody to the same Hymn in 1738 (Zahn, No. 7419).
Probably the parent of the Bach-Konig melody is
Johann Georg Ebeling's setting of the Hymn in
a minor key published in 1666 (Zahn, No. 7414).
The opening phrases of all three are identical, as
are the closing cadence of Ebeling's and Konig's
settings. Had Konig received the tune as Bach's
it is difficult to suppose that he would have altered
it. Moreover, he uses it in a much more changed
form for another Hymn (Zahn, No. 1815). Bach's
authorship therefore is improbable.
"GoTT, MEIN Herz dir Dank zusendet " Krebs MS.
^
' Vol. III. 113.
88
INTRODUCTION
The melody has the Bach Aria character, and
may be regarded as by him. Spitta's notes upon
the tune^ are not very intelligible in the translation.
It is sufficient to remark that both of the Hymns
to which he alludes are by the Countess Emilie
Juliane, and that neither possessed a proper melody
of its own until Bach wrote " Gott, mein Herz " for
one of them.
"GOTT, WIE GROSS 1ST DEINE GUTE"
Schemelli 1736 no. 360
1 Vol. in. 188.
INTRODUCTION
89
(
— ip-
5 7 . h
6 2 987# 5 * #
J * r^
?=
i
^ — 1^^
w
6 7
f 5 6 5
tat
^^g
1^
4 3
c-^-tfia
^ig"^^m?r^T^
w^^
^
0 6 5 5
5l7 5 !? 6 4 t|
N^" ^i^j^ r CcE
6
5 7
i
Wr P' ~W
w
t^trr-Trr
kkj t^
97 6 8
^^
6
4 6
2 5
4 3
^
^M0f
3S£
tiir-"-
* Schemelli has E flat.
Zahn, No. 7937, attributes the melody and Bass
to Bach without qualification. The character of
go
INTRODUCTION
the tune and the fact that the words of the Hymn
are by Schemelli establish the conclusion. The
tune is not found elsewhere.
"GOTTLOB, ES GEHT NUNMEHR ZUM ENDE"
Choralgesdnge 1769 no. 198
f^\li\uK\\m
er
I r' rr "g
g^^F^
y
^
Ih*^
S^
^^S
^
ajJJJ
ff
P^fTfWg^
r
e^
=^^ ^ J- J flj J. J d j:1 J
INTRODUCTION
91
Erk, No. 212, and Choralgesange, No. 118,
print the harmonised melody. The former follows
Winterfeld in attributing it to Bach without quali-
fication ; the latter regards it as " wahrscheinlich "
his. There seems to be no ground on which to
base either conclusion. The tune is without dis-
tinction, and is not in the least possessed of Bach's
characteristics. It is included in some nineteenth
century Hymn books, and seems to be another
form of a tune, to the same Hymn, found in various
versions (Zahn, Nos. 2852-2857).
"HiER LIEG ICH NUN, O VATER ALLER GNAUEN "
Krebs MS.
1
Afa^J^j f ICBjgg
9 8
7*?
^^^■^1-?^^^=^^
^
--r=r^
itlS=3S:
!55E
92
INTRODUCTION
I
^
W^f 0 tl(*
a
^
s
^
»t>=
:^=e
^^A_ J r r
5^
^
^
9
The melody is not found elsewhere. It has an
unmistakeable Bach curve. Spitta' points out that
the Hymn " Hier lieg ich nun, O Vater " was not
given a tune of its own in Schemelli's Hymn book,
nor, in fact, did it possess one. Meanwhile the
Hymn, " Hier lieg ich nun, mein Gott, zu deinen
Fiissen," had been rendered popular by Freyling-
hausen's Hymn book (1704). S pitta hazards the
suggestion that Krebs' melody was written by Bach
in anticipation of a demand for a new edition of
Schemelli's book. Spitta's guess is supported by
an interesting fact. Zahn, Nos. 953-954, prints two
forms of the tune " Hier lieg ich nun, mein Gott,"
dated respectively 1708 and 1719. In the latter
1 Vol. III. 288.
INTRODUCTION
93
the opening phrase is identical with Bach's opening
phrase, and its general character leaves little doubt
that in writing a melody for " Hier lieg ich nun, O
Vater," Bach had in his mind that of " Hier lieg
ich nun, mein Gott."
"Ich bin, ja, Herr, in deiner Macht"
Choralgesdnge 1786 ill. no. 251
^^^^m
f^Wf
^
r
.r J -J
BTiiTr f^' 1: 1 Cr C;
bt
i
^
^3^
E3
f
J
W^
-i ^
m
^
i
i^j^j^i^j -^^
*^=»
f^^^FfP^p^^«g'=ft^^
^B
,^.V^ J- ; J
94 INTRODUCTION
\
J^.JT^J UP^
T
rT-r-^g^r=f^f
i i .u
Pbh*^
^
^
^
j4
^
^^
i
fci
^^^
L^r^iijsJ -S2A
t^^4^
^|t=^
-1-
r
Zahn, No. 5878 a, remarks, "Mel. bei (von ?) J. S.
Bach." Erk, No. 236, and Choralgesdnge, No. 174,
suggest, without endorsing, Bach's authorship.
Spitta^ attributes the tune to Bach without qualifi-
cation. It bears the stamp of Bach's workmanship
and is not found in the Hymn books.
" ICH GNUGE MICH AN MEINEM STANDE " Krebs MS.
fe
^
T
^^^^^^^^
• Vol. III. 11511.
INTRODUCTION
95
^
The melody is not found elsewhere. Its form
is compatible with Bach's authorship. Spitta'
points out that in Schemelli's Hymn book (1736)
the Hymn " Ich gniige mich '' was sung to the
tune"Wer nur den lieben Gott lasst walten.'' In
fact it possessed no melody of its own. As in the
case of " Hier lieg ich nun, O Vater," the Krebs
melody therefore may have been composed by
Bach in preparation for a revised edition of the
Schemelli Hymn book. But the compass of the
tune is incompatible with congregational use.
"Ich halte treulich still"
Schemelli 1736 no. 657
1!^^
^^
a
225
^^
m
^
f —
4
3
43 76 6
I i~T
' Vol. III. 38
96
INTRODUCTION
^
^
Kilar
^
3=^
6 t; ,6 54 t}
^
?
5
^^^E^fe
igsag
^
6 6 6 6
^^
6 5
l7 6 4 #
ie
itiE*
?^
^^^
m
6 6 7 0 6
P^
NE
^
i
^^CI*
Zahn, No. 5082, attributes the melody to Bach
without qualification. Its opening phrase is remi-
niscent of " O Gott, du frommer Gott " (see
INTRODUCTION
97
Cantata 45), but Bach's hand is unmistakeable.
The tune is not found in any of the regular
Hymn books.
"ICH HEBE JeSUM ALLE STUND"
Schemelli 1736 no. 737
tr- — -^^ —
6 6 6 76 4 3
(f^ — r"S"i«"i^5~"i*i» ~i — ' — r
Zahn, No. 4732, remarks, "Mel. und Bass von(?)
S. Bach." The Hymn had its own melody (1693).
Schemelli's tune improbably is by Bach. It is
not found elsewhere.
T. B. c.
98
INTRODUCTION
" ICH steh' an deiner Krippen hier"
Schemelli 1736 no. 195
!^it!±t^
'i^ r'^r^T^
6
7 4+
5 2 6
^rr^riTri^^^
2MZ
INTRODUCTION
99
Zahn, No. 4663, attributes the melody to Bach
without qualification. There was in existence
already, but not in very general use, a melody to
the Hymn by Johann Georg Ebeling (1667).
Another, in the Dresden Hymn book, 1694, has an
opening phrase, but in a major key, to which Bach's
opening line bears a close resemblance (Zahn,
Nos. 4659, 4661). It is worth noticing that when
Bach used the words in the " Christmas Oratorio,"
No. 59, he set them to Luther's " Nun freut euch,
lieben Christen g'mein." That he should have given
the Hymn a distinctive melody of its own two years
later is explicable from that circumstance. The tune
itself establishes a conviction that Bach composed it.
It is not found in the regular Hymn books.
"Jesu, deine Liebeswunden " Schemelli 1736 no. 139
i
^-
^j *f J
w
^j ^j-
6 S 6 5
4
2 6
<6 e r*rtrr,^
^^
^=^
^=^-
^ it
m^
5
6 6 7
6
4
I 2
^JJI^J^^^^^
7—2
lOO
INTRODUCTION
Zahn, No. 1302, regards the melody as "pro-
bably" by Bach. The probable author of the
Hymn, Christoph Wegleiter, died in 1706. Since
it had no distinctive melody of its own, its inclusion
in Schemelli's collection suggested the provision of
one. Whether Bach was the author the tune does
not help to decide. It bears a very close resem-
blance to an anonymous melody (1729) to the
Hymn " Sollt es gleich bisweilen scheinen " (Zahn,
No. 1356), and is not found elsewhere. Konig
also appears to have drawn upon the 1729 melody
in 1738 to set the Hymn "Sollt es gleich" (Zahn,
No. 1360).
"JESU, JESU, DU BIST MEiN " Schemelli 1736 no. 741
&
mrjK±
^a*!* rfrpr ^
±
6 0
I* ''g'
fbi^'i
^^
INTRODUCTION
lOI
MS
5 6
3 4 6
6 5
4 3
;iii=^
F=0^^
— ■ rw^ — =■-*-: -nr-l -^—
^
F=gl
B
^
^
5 60 6 J[ 6 fr t|
5
6 2
^^^^^^
6 5
6 4 4 i[
i"^?«=
i
^
s
98 76
6 b tl. 76 tt 6
£
6 5
J'_j.e4^_
^^
r
?Esp^
^
Zahn, No. 6446, and Choralgesange, No. 191,
concur in regarding the tune as probably by Bach.
Spitta' expresses himself positively to that effect.
The Hymn was wedded to a proper melody of its
own since 1687, and Zahn reveals the existence of
four others. But none of them had much vogue,
and on that ground, perhaps, Bach provided a new
' Vol. HI. 113.
I02
INTRODUCTION
one for Schemelli's Hymn book. It is not found
in any other eighteenth century collection, and its
Aria character seems to justify a positive ascription
of it to Bach. Konig (1738) has a tune to the same
Hymn which, greatly inferior to Bach's, has the
appearance of being a melody evolved out of it
(Zahn, No. 6447).
"KoMM, sussER Tod"
Schemelli 1736 no. 868
^Ea>^^ilU4:^^^^Hfff
6.5
65
t? 6 6
m^-^
^ga
t
m
^
■-_fjd* I rJ—jf
6 5
6
5
Wr^^
4+ 6
2 ^ 6 5
^
I* 0
^^
'rr-T^r
«l-
m
v^r^rT^
m J* m
^_ _^
6 5+
4 %
ep 6
4 5
6
5
^^
INTRODUCTION
103
^m
^
7 6 5l7
i
STf-^^
\ \ ■ ,0rF\,.
i
?s
iz=«=^
r^ i>#
£:fc
§
65
6
2 6
^i^F=F
^X£/rj^£fr
jP
*^
6 6 5
5 4 it
m.
m
Erk, No. 82, and Zahn, No. 4400, attribute the
melody to Bach without qualification. It is charac-
teristic of his Aria type, and indubitably is his.
The anonymous Hymn has no earlier melody, but
Konig(?) set it again in 1738 (Zahn, No. 4401).
Bach's tune does not occur in any Hymn book but
Schemelli's.
I04 INTRODUCTION
"KoMMT, Seelen, dieser Tag"
Schemelli 1736 no. 936
m^f! hir Zf=^
■ttar^m
^
i
F^
^
r^=5Ffl^^^^^
6 5
4 ft
6 #65
^
INTRODUCTION
lOS
Zahn, No. 5185, attributes the melody to Bach
without qualification. It is in the form of a
Gigue and is his unmistakeably. It is not found
elsewhere.
"KOMMT WIEDER aus der finstern Gruft"
Schemelli 1736 no. 938
^ejrrLTr^^^^
^-aJ -J J^-
5 4 4 6
2 76 43 65 2662 566
^^
W^S"-
-^^
IE
^h
•^i' J rrr
Pi
^
^
6 2 6 5 6
9 6
Q tt » ^—
&S
>^
^^t^
f^
6 5 87 4+ 6 6 6
7#6#h 2 60 5 ## 6
7 4 3
1^
S
^
^fW
io6
INTRODUCTION
m^frr!^I^JV^^
n
The stamp of Bach's authorship is upon the
melody, and Zahn, No. 4709, attributes it to him
without qualification. It is not found in other
Hymn books than Schemelli's.
"LlEBSTER HERR JESU, WO BLEIBST DU SO LANGE?"
Schemelli 1736 no. 874
^
:fc
^^
^
^^
4 # 6 I? 76 4 #
^
^
te
^E^
I
6 ,5 5
6 4 J 5 t> 6
Ci. JJJJJJ
?=
4 6
2 5
4 »
i
^
INTRODUCTION
107
i
5
#76 fl
6 7
4 5
2 3
i
%q^
E^5
^r— rfifigiF^
-I L
6 4+66 7
5 2 45Jt5 6 5#
w—j-wf'
i
^
»
It
«
s
i
ibic
f
^^E:±
?=
6 6 6
■-%*-
6 5 5
4jt 6 4#5b6
^
=?
e
^^
^
io8
INTRODUCTION
Zahn, No. 3969, attributes the melody to Bach
without qualification. The Hymn had a melody of
its own (1676), which Konig uses, and another more
recent (171 1). But neither had much vogue in the
Hymn books, and Bach's provision of a new melody
is intelligible. If the pauses be neglected the Aria
form of the melody appears, and justifies the ascrip-
tion of the tune to Bach. It is not found elsewhere.
"Mein Jesu, was vor Seelenweh"
Schemelli 1736 no. 283
INTRODUCTION
109
^^^^^^^
4+ 76 h 4+
2 6 5 2+6 6
^=^Z^=&
eIe
7 5+
5 # #
i$^
b J. g^-ft
^le
'7^'a.
6
4+ 76
2 0 6 6 5
4 tt
^
^i^
Zahn, No. 8383, attributes the melody and Bass
to Bach without qualification. The. assumption is
confirmed by the fact that the words probably are
by Schemelli himself, and that the tune is in Bach's
Aria form. It is not found elsewhere.
"Meine Seele, lass' es gehen"
Krebs MS.
it=^
'^^^
^
0-^-0-
y=±=B
kEg^ffl^
no
INTRODUCTION
The melody, which is not found elsewhere, reads
like Bach. That he should have prepared ah
original tune for a future edition of Schemelli is
explicable in view of the fact that the Hymn had
no distinctive melody of its own ; the one in
moderately general use was a reconstruction (171 5)
of " Meine Hoffnung stehet feste " (see Cantata
40). Konig (1738) adapted another well-known
tune to the Hymn. In Schemelli, 1736, it was
directed to be sung to the tune, " Herr, ich habe
missgehandelt " (see Cantata 162).
"Night so traurig, night so sehr"
Choralgesdnge 1769 no. 153
*
gto
r r 'a^^-^-^^
^s
iJ-
j. Vkji -J J J
^
P^^feE^
^
^^^^^^
W^
M^
^^i^^p^^
INTRODUCTION
III
li
I ! L
Zahn, No. 3355, remarks, "Mel. bei (von?)
Seb. Bach." Elsewhere he speaks of it as "ver-
mutlich von Bach'." Erk, No. 268, queries, and
Choralgesdnge, No. 253, accepts Bach's author-
ship. Spitta'' attributes the tune to Bach without
qualification. It is not found in any other Hymn
book, and Bach's authorship may be admitted. See
also B.G. xxxix. No. 53.
'O FINSTRE NACHT"
Schemelli 1736 no. 891
i
^E
^S
*-*-
6
4 6
2 5
6
6 5 5
gfl
^
bff^
^tf^ r
:*iit
1 Vol. VI. 347.
- Vol. m. 11511.
112
INTRODUCTION
6 6
jf 665 5
^^^^^^^^P
m:
6 5
6 7 7 jt /^
s
1
i^^^^^^^^^^^
4+
4 3 4 3 it
2 #606
INTRODUCTION
tr
^ig
=^
6 6 5
^ 6 5 4 #
^-r-
^B
"3
The melody is not found in any other Hymn
book. The Hymn had been set by Johann Ludwig
Steiner in 1723, but his tune was little known.
That Bach should have provided one for the Hymn
in Schemelli's Hymn book therefore is intelligible.
Zahn, No. 61 7 1, regards the melody as "probably"
by Bach. It is so distinctive of his style that his
authorship may be accepted.
"O Herzensangst, O Bangigkeit und Zagen"
Choralgesange 1769 no. 178
T. B. C.
114
INTRODUCTION
I
I I
fe^EEii^
^-rJ-J^J
m
m
rffTnTT — D*
r
Zahn, No. 1003, regards the melody as "pro-
bably" Bach's. Choralgesdnge, No. 284, holds it
" very probably " his. It differs greatly in character
from earlier tunes in the same metre (11, 11. 11. 5),
INTRODUCTION
"S
and its quasi Aria form perhaps justifies the con-
clusion that Bach composed it. It is not found
in any Hymn book earlier than the nineteenth
century.
"O LIEBE SEELE, ZIEH DIE SiNNEN "
Schemelli 1736 no. 575
tr tr
firli
I
»rT— .jgr
w-
wfi=^
5=*
9 6 5
70
tr 6
^
m
¥=F-
^F^»q^=^
6 5 7
6 ir 9 S 5 if
6 9 66 5 7 6
8—2
ii6
INTRODUCTION
tr
I
iS
^
7 76 6 J
6 9 87 6 6
^ES
^^
E^
§^-j;a^
fE^feEg
6 7 6 5
6 5 9 5 4 3
Si
?
Zahn, No. 7787, attributes the melody to Bach
without qualification. It is, in fact, unmistakeably
his, and is not found in any of the regular Hymn
books.
"SCHAFFS MIT MIR, GOTT, NACH DEINEM WiLLEN "
Notenbiichlein 1725 p. 48
*
"ts
74
6
5 4+
3 2 6
^
^
INTRODUCTION
117
S
adt:
2 6 4#
4
5 2 6
g^^^j^^y^
^=
Erk, No. Ill, regards the melody, in form a
Minuet.as "wahrscheinlich" Bach's. Zahn,No.2883,
expresses no opinion ; he quotes the melody,
slightly altered, from a later text (1780). Spitta^
regards it as exhibiting " plainer tokens " of Bach's
style. It certainly has Bach's characteristics, and
having regard to where it occurs can hardly be
other than his composition. It is found in a few
modern Hymn books.
' Vol. m. 113.
Il8 INTRODUCTION
"Selig, wer an Jesum denkt"
I
i
Schemelli 1736 no. 292
r"r rr^rF^
at
¥
6l7 6 6
4 6 7 5 5
2 5 5 tf t> If
6
4+
2 6
^?— R^
^
Sa^^-^^PI^^^
^
0 6N 6 6
5i> 4 2 5|7 9 4l|
^^
5
2 6
gzggji^
6
[fevirilrN'J
Zahn, No. 4846, attributes the melody to Bach
without qualification. Its intrinsic qualities do not
INTRODUCTION
119
justify his confidence. The Bass unquestionably is
Bach's. The tune is not found elsewhere.
"SiNGT DEM HERREN, SINGET "
Becker 1843 no. 196
i
m
^
iPTrrn
h*i»"^
a ^ 0'
f7s
fr^g
-1 — ^
■^-^sJ-
"^^rtr
~P J *
Zahn, No. 6267, regards the melody as "pro-
bably" by Bach. In fact it was composed by
Apelles von Lowenstern, and was published in 1644,
to his own Hymn, " Singt dem Herrn ein neues
Lied," as the Choralgesdnge, No. 309, points out.
I
i
So WUNSCH ICH MIR ZU OUTER LETZT "
Schemelli 1736 no. 901
3E
gJ-i-jJE^g
^^
f
S^
^n
i
B
5 6
2 6 5
4»
i
1 20
INTRODUCTION
^^^3^^^W-r-^-:±^
7. — 1 — 1— i*--i*ri*i*^ J* i>i . -— ^1^
5745
4jj; 6 27±f 2626
ek J r Mir -J—'"*' -J-J^-^z.
(i
-cfc
16 6 5
5
•S*^
The melody is not found elsewhere. Zahn,
No. 5892, regards it as " probably," and the Bass as
certainly by Bach. The opening phrase of the tune
is reminiscent of " Was Gott thut, das ist wohl-
gethan " (see Cantata 1 2). That fact, and especially
its general atmosphere, rouse a conviction that the
melody is of earlier date than 1736 and that Bach
was not the author of it.
INTRODUCTION
121
"Vergiss MEIN NICHT, MEIN ALLERLIEBSTER GOTl'"
Schemelli 1736 no. 627
^FTf JflJrJ.
^-^F-ar
?
^^
±:t.
m — ^
^
^^E
H«:e
i
E^
^^
an?:
i^
^:
^
S
-I— H — =P-
^^^
Si
?5i^
^
i
^T^-TTj^^pg
f^gi^
The melody is headed : "Aria adag. di S. Bach
D. M. Lips.," and is. the only one in Schemelli's
book thus distinguished. It is unfigured.
122
INTRODUCTION
"Warum betrubst du dich und beugest"
Notenbiichlein 1725 p. 46
u
-k^
1^
in-P-
:f=^^^
^
ȣ
^g^#fe
^?cs
te=!
^
r" r ff ir
rf
r
The tune, an obvious Bach Aria, is unfigured.
INTRODUCTION
123
"Was betrubst du dich, mein Herze"
Becker 1843 no. 187'
J
Sis
^m
^
I
i
■'^ — ^-j^j?
¥
^^^^^W
ipr
f^-r-g
?^
DF r <
T^
' The text has been copied from E.G. xxxix. ■267.
124
INTRODUCTION
^M^jM^^Ma
T
INTRODUCTION
125
Zahnj No. 6830, remarks, " Mel. bei (von ?) Seb.
Bach." Choralgesange, No. 334, holds it "wahr-
scheinlich" his. Spitta^ attributes the melody to
Bach without qualification. The Hymn, by
Zacharias Hermann (1643-17 16), was published in
1690, without a melody. Possibly Becker's tune
is one of those prepared by Bach for Schemelli.
The tune occurs in a single, nineteenth century,
Hymn book, and may be accepted as Bach's.
" WiE WOHL 1ST MIR, O FREUND DER SEELEN "
Notenbiichlein 1725 p. 51
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Vol. IH. iisn.
126
INTRODUCTION
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Perhaps this unfigured Aria may have been
designed by Bach for a future edition of Schemelli's
Hymn book. The melody obviously is Bach's.
P'rom the foregoing examination the following
tunes emerge as being either positively or with
practical certainty Bach's original compositions :
8 Ach, dass nicht die letzte Stunde.
10 Beschrankt, ihr Weisen dieser Welt.
11 Dich bet ich an, mein hochster Gott.
INTRODUCTION 12/
1 Dir, dir, Jehovah, will ich sihgen.
12 Eins ist noth ; ach Herr, dies eine.
2 Gedenke doch, mein Geist zuriicke.
3 Gieb dich zufrieden und sei stille.
36 Gott, mein Herz dir Dank zusendet.
13 Gott, wie gross ist deine Giite.
37 Hier lieg ich nun, O Vater aller Gnaden.
32 Ich bin, ja, Herr, in deiner Macht.
38 Ich gniige mich an meinem Stande.
14 Ich halte treulich still.
16 Ich steh' an deiner Krippen hier.
18 Jesu, Jesu, du bist mein.
19 Komm, siisser Tod ! komm, selge Ruh !
20 Kommt, Seelen, dieser Tag.
21 Kommt wieder aus der finstern Gruft.
22 Liebster Herr Jesu, wo bleibst du so lange ?
23 Mein Jesu, was vor Seelenweh.
39 Meine Seele, lass es gehen.
30 Nicht so traurig, nicht so sehr.
24 O finstre Nacht, wann wirst du doch vergehen.
31 O Herzensangst, O Bangigkeit und Zagen.
25 O liebe Seele, zieh die Sinnen.
5 Schaffs mit mir, Gott, nach deinem Willen.
28 Vergiss mein nicht, mein allerliebster Gott.
6 Warum betriibst du dich und beugest dich zur
Erden.
34 Was betrubst du dich, mein Herze.
7 Wie wohl ist mir, O Freund der Seelen.
As Schweitzer points out\ Bach's Hymn tunes
are sacred Arias rather than Chorals. "Their
pecuUar loveliness comes from the fact that they
are the work of an artist brought up on the German
' Vol. I. 22.
128 INTRODUCTION
Choral, writing under the influence of the formally
perfect Italian melodic form." They are not appro-
priate to congregational singing, and in fact have
been used very little for that purpose'. "Their
charm," Spitta remarks'^, " is like that of a pious
family circle, musically cultured, and we may
delight to fancy that these touching hymns, -so
delicately worked out in their small limits, were
sung, at the master's household devotions, by one
or other of the members of his family."
' All the Schemelli melodies and those in the Notmbiichlein,
except the one at page 86 supra, are included by Ernst Naumann in
a volume of "Lieder und Arien. FUr eine Singstimme mit Piano-
forte (Orgel Oder Harmonium)," Leipzig, igoi. The Schemelli
tunes are arranged by Franz Wiillner in another volume, published,
like Naumann's, for the New Bach Society. The Editors do not
attempt to distinguish Bach's melodies from the others.
2 Vol. m. 112.
THE CANTATAS
Cantata I. Wie schon leuchtet der Mor-
GENSTERNl Feast of. the Annunciation of
the B.V.M. {c. 1740)
Melody: " Wie schon leuchtet der Morgenstern"
PPhilipp Nicolai 1599
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A Choral Cantata, upon Philipp Nicolai's
Hymn, "Wie schon leuchtet der Morgenstern,"
founded on Psalm xlv, first published, with the
melody, in Nicolai's Frewden Spiegel dess ewigen
Lebens (Frankfort a. Main, 1599). The Hymn was
written during the plague of 1597. The initial
1 An English version of the Cantata, "How brightly shines,"
is published by Novello & Co.
T. B. C. 9
I30 CANTATA I
letters of its seven stanzas (W.E.G.U.H.Z.W.)
stand for "Wilhelm Ernst Graf und Herr zu
Waldeck," Nicolai's former pupil.
Nicolai was born at Mengeringhausen in 1556.
He was educated at Erfurt and Wittenberg, and in
1601 became chief pastor of St Katherine's Church,
Hamburg. He died there in 1608.
It is improbable that Nicolai composed the
melody. Probably he adjusted it to the Hymn.
The secular love song, "Wie schon leuchten die
Aeugelein," is of later date ; therefore the tune
cannot be regarded as a secular one transferred to
the Hymn. It bears a partial resemblance to
that of the fourteenth century Carol, " Resonet
in laudibus."
The melody also occurs in Cantatas 36, 37, 49,
61, and 172. There is another harmonisation of it
in the Choralgesdnge, No. 375, where, for the second
part of the melody, Bach follows Gottfried Vopelius'
reconstruction of the tune, in his Neu Leipziger
Gesangbuch (Leipzig, 1682 [1681]). Organ Works,
Novello, xix. 23.
{a)
The words of the opening movement are the
first stanza of Nicolai's Hymn :
Wie schon leuchtet der Morgenstern
Vol! Gnad' und Wahrheit von dem Herm,
Die siisse Wurzel Jesse !
CANTATA I 131
Du Sohn Davids aus Jacobs Stamm,
Mein Konig und mein Brautigam,
Hast mir mein Herz besessen ;
Lieblich, freundlich,
Schon und herrlich, gross und ehrlich,
Reich von Gaben,
Hoch und sehr prachtig erhaben.
E.G. i. I.
English translations of the Hymn are noted in
the Dictionary of Hymnology, pp. 807, 1727.
Form. Choral Fantasia (2 Corni, 2 Oboi da caccia,
Strings, Continuo^).
The words of the concluding Choral are the
seventh stanza of Nicolai's Hymn :
Wie bin ich doch so herzlich froh,
Dass mein Schatz ist das A und O,
Der Anfang und das Ende ;
Er wird mich doch zu seinem Preis
Aufhebmen in das Paradeis,
Dess klopf ich in die Hande.
Amen ! Amen !
Komra du schone Freudenkrone,
Bleib' nicht lange,
Deiner wart' ich mit Verlangen.
B.G. i. 51.
Form. Embellished (2 Corni, 2 Ob. da caccia.
Strings, Continuo). Choralgesdnge, No. 378.
1 See Spitta, in. loi.
9—2
132
CANTATA II
Cantata II. Ach Gott, vom Himmel sieh
DAREIN^- Second Sunday after Trinity
{c. 1740)
Melody: '■'■Ach Gott, vom Himmel sieh' darein"
Anon. 1524
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A Choral Cantata, on Luther's Hymn, " Ach
Gott, vom Himmel sieh' darein," a free rendering
of Psalm xii, probably written in 1523, and first
published in the so-called " Achtliederbuch," Etlick
Christlich lider Lobgesang, und Psalm (Wittenberg,
1524), where it is set to the melody, " Es ist das
Heil uns kommen her" (see No. 9 infra). The
Hymn was published in the same year in the
Erfurt Enchiridion Oder eyn Handbuchlein, in
association with the melody printed above. The
tune, which Bach uses in the first and last move-
ments of the Cantata, has a pre-Reformation
origin and, no doubt, owes its present form to
Johann Walther, Luther's collaborator. Walther
arranged yet a third melody for the Hymn in his
Geystliche gesangk Buchkyn (Wittenberg, 1524).
1 An English version of the Cantata, "Ah God, in mercy look
from Heaven," is published by Breitkopf & Haertel.
CANTATA II 133
The melody occurs also in Cantatas Tj and 153.
{a)
The words of the openhig Chorus are the first
stanza of Luther's Hymn :
Ach Gott, vom Himmel sieh darein
Und lass dich's doch' erbarmen :
Wie wenig sind der Heil'gen dein,
Verlassen sind wir Armen :
Dein Wort man nicht lasst^ haben wahr,
Der Glaub' ist auch verloschen gar
Bei alien Menschenkindern.
B.C. i. 55.
English translations of the Hymn are noted in
the Dictionary of Hymnology, p. 9.
Form. Choral Motett (2 Ob., 4 Trombones,
Strings, Continuo% Erk, No. 149.
The words of the last movement are the sixth
stanza of Luther's Hymn :
Das woUst du, Gott, bewahren rein
Fiir diesem arg'n Geschlechte,
Und lass uns dir befohlen sein,
Dass sich's in uns nicht flechte.
Der gottlos' Hauf sich umher find't,
Wo solche* lose Leute sind
In deinem Volk erhaben.
B.G. i. 72.
Form. Simple (2 Ob., 4 Trombones, Strings, '
Continuo). Choralgesange, No. 7.
1 1524 das. ^ 1524 lesst nicht.
" On the movement, see Parry, p. 380. ' 1524 dise.
134
CANTATA III
Cantata III. Ach Gott, wie manches Herze-
LEID'- Second Sunday after the Epiphany
{c. 1740)
Melody: " O Jesu Christ, mein's Lebens Licht"
Anon. 1625
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Melody : " Hil/ mir, Herr Jesu, well ich leff " MS. 1602
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A Choral Cantata, on the Hymn, " Ach Gott,
wie manches Herzeleid," first published in Martin
Moller's Meditationes Sanctorum Patrum (Gorlitz,
1587, 2nd ed,). The Hymn is a free paraphrase of
Bernard of Clairvaulx' "Jesu dulcis memoria,"
attributed to Martin Moller.
Moller was born at Kropstadt, near Witten-
berg, in 1547, became Cantor at Lowenberg in
1 An English version of the Cantata, "O God, how many pains
of heart," is published by Breitkopf & Haertel.
CANTATA III 135
Silesia and eventually deacon there. In 1600 he
became chief pastor at Gorlitz, and died there
in 1606.
The Hymn is attributed also to Conrad Hojer,
Sub-Prior at Mollenbeck, near Rinteln on the
Weser.
In the first, second, and last movements of the
Cantata Bach uses the melody generally known as
"Ach Gott, wie manches Herzeleid." By pre-
scriptive right it should bear the name of Martin
Behm's finest Hymn, " O [Herr] Jesu Christ, mein's
Lebens Licht," first published in 1610. The
earliest version of the tune is set to Behm's Hymn
in As hymnodus sacer (Leipzig, 1625). It bears,
however, so close a resemblance to a Konigsberg
MS. melody of 1602' that it must be considered a
derivative of that tune or of some common source.
The proper, and quite distinct, melody of "Ach
Gott, wie manches Herzeleid " probably was com-
posed by Bartholomaus Gesius and appeared first
in his Ein under new Opus Geistlicher Deutscher
Lieder (Frankfort a. Oder, 1605).
Bach uses the melody also in Cantatas Nos. 44,
58, 118, and 153. Invariably he prefers the form
of lines 1-3 in Joseph Clauder's Psalmodia nova
(Leipzig, 1630).
' Zahn, vol. I. No. 532.
136 CANTATA III
(a)
The words of the opening movement are part
of the first stanza of the Hymn :
Ach Gott, wie manches Herzeleid
Begegnet mir zu dieser Zeit.
Der schmale Weg ist triibsalvoU,
Den ich zum Himmel wandern soil.
B.G. i. 75-
English translations of the Hymn are noted in
the Dictionary of Hymnology, p. 10.
Form. Choral Fantasia (2 Ob. d'amore, Trom-
bone (col Basso), Strings, Continuo). The cantus is
with the Basses.
(^)
The Choral of the second movement {Recitative)
is part of the first and second stanzas of the Hymn :
Wie schwerlich lasst sich Fleisch und Blut
Zwingen zu dem ewigen Gut !
Wo soil ich mich denn wenden hin.''
Zu dir, O^ Jesu, steht mein Sinn.
B.G. i. 84.
Form. The Chorus (S.A.T.B.) is intersected
by Recitativo passages for all the four voices, which
take the place of the orchestral ritornelli usual in
this Extended form {Continuo'^).
' 1587 Herr. ^ See p. 44 supra.
CANTATA IV I 37
The words of the concluding Choral are part
of the twelfth stanza of the Hymn :
Erhalt' mein Herz im Glauben rein,
So leb' und sterb' ich dir allein.
Jesu, mein Trost, hor' mein Begier" •
O mein Heiland, war' ich bei dir!
B.G. i. 94.
Form. Simple (2 Ob. d'amore, Corno, Strings,
Continuo). Choralgesdnge, No. 8.
Cantata IV. Christ lag in Todesbanden ^
Easter Day (1724^)
Melody: '^Christ lag in Todesbanden" Anon. 1524
(I)
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' English versions of the Cantata are published by Novello &
Co., " Christ lay in Death's dark prison," and Breitkopf & Haertel,
" Christ lay fast bound in Death's harsh chain."
2 Perhaps founded on an earlier work.
138 CANTATA IV
(2)
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A Choral Cantata, on Luther's Easter Hymn,
"Christ lag in Todesbanden\" described in 1524 as
" ' Christ ist erstanden ' improved." In fact only
slight traces of the latter ancient Hymn are found
in Luther's version, stanzas iv and v of which are
based on the Sequence " Victimae paschali." The
Hymn, with the tune, was published in 1524, in
Johann Walther's Geystliche gesangk Buchleyn
(Wittenberg), and in Enchiridion Oder eyn Hand-
buchlein (Erfurt). The tune, like the words, is
based on old material (" Christ ist erstanden " : see
Cantata 66), and probably owes its reconstruction
to Johann Walther, who gives it in the two versions
printed above, the second of which excludes the
" Hallelujah ! " A version of (i) appears in every
movement of this Cantata.
Bach uses the melody also in Cantata 158.
Other harmonisations of the tune are in the
' See Spitta, 11. 391.
CANTATA IV 139
Choralgesdnge, Nos. 38, 39. Organ Works, N. xv.
79 ; xviii. 16, 19.
{a)
Verse I.
Christ lag in Todesbanden
Ftir unser SUnd' gegeben,
Er^ ist wieder erstanden
Und hat uns bracht das Leben ;
Dess wir soUen frohlich sein,
Gott loben und ihm dankbar^ sein
Und singen Hallelujah !
Hallelujah !
B.G. i. 98.
English translations of the Hymn are noted in
the Dictionary of Hymnology, p. 225.
Form. Choral Fantasia {Cornetto, 3 Trombones,
Strings, Continuo).
{b)
Verse II.
Den Tod Niemand zwingen kunnt
Bei alien Menschenkindern ;
Das macht alles unser Siind',
Kein Unschuld war zu finden.
Davon kam der Tod so bald
Und nahm iiber uns Gewalt,
Hielt uns in seinem Reich gefangen.
Hallelujah !
B.G. i. no.
Form. Soprano and Alto Duetto, the former
voice having a somewhat free treatment of the
cantus {Cornetto, Trombone /, Continuo^.
' 1524 Der. ^ 1524 und dankbar.
140 CANTATA IV
(^)
.Verse III.
Jesus Christus, Gottes Sohn,
An unser Statt ist kommen
Und hat die Siinde weggethan^,
Damit dam Tod genommen
AH' sein Recht und sein' Gewalt,
Da bleibet nichts denn Tod's Gestalt ;
Den Stach'l hat er verloren.
Hallelujah! B.G. i. 112.
Form. Tenor Unison Choral, having the cantus
in Simple form ( Violino I and II, Continud).
{d)
Verse IV.
Es war ein wunderlicher^ Krieg,
Da Tod und Leben rungen,
Das Leben das behielt' den Sieg
Es hat den Tod verschlungen.
Die Schrift hat verktindiget* das,
Wie ein Tod den andern frass,
Ein Spott aus dem Tod ist worden.
Hallelujah! B.G. i. 114.
Form. Choral Fantasia in Motett form {Con-
tinuo). The cantus is with the Altos.
Verse V.
Hier ist das rechte Osterlamm,
Davon Gott hat geboten*,
Das ist hoch an des^ Kreuzes Stamm
In heisser Lieb' gebraten,
1 1524 abgethon. ^ 1524 wunderlich.
^ 1524 Das leben behielt. '' 1534 verkundet.
'•' 1524 gepotten. " 1524 Das ist an des.
CANTATA IV 14 1
Das Blut zeichnet unser Thiir,
Das halt der Glaub' dem Tode fiir,
Der Wiirger kann uns nicht mehr schaden'.
Hallelujah ! E.G. i. 118.
Form. Bass Unison Choral ; a free treatment of
the cantus ( Violino I and II, Viola I and II, Continuo).
Verse VI.
So feiern wir das hohe Fest
Mit Herzensfreud' und Wonne,
Das uns der Herre scheinen lasst ;
Er ist selber die Sonne,
Der durch seiner Gnaden Glanz
Erleuchtet unsre Herzen ganz :
Der Siinden Nacht ist verschwunden^.
Hallelujah! B.G. i. 122.
Form. Soprano and Tenor Duetto, treating the
cantus somewhat freely in canon {Continuo').
kg)
Verse VII.
Wir essen und leben wohl
Im rechten Osterfladen ;
Der alte Sauerteig nicht soil
Sein bei dem Wort der Gnaden.
Christus will die Koste sein
Und speisen die Seel' allein :
Der Glaub' will keins andern leben.
Hallelujah ! B.G. i. 124.
Form. Simple {Cornetto, 3 Trombones, Strings,
Continuo). Choralgesdnge,'Ho. ^1'^.
' 1524 uns nicht ruren. -^ 1524 vergangen.
3 Spitta (II. 394) points out that this is the only work by Bach
which in its text and treatment is a Church Cantata in the sense in
which Buxtehude, Pachelbel, and Kuhnau used the term.
142
CANTATA V
Cantata V. Wo soll ich fliehen hin.
Nineteenth Sunday after Trinity (1735)
Melody: " Venus du und dein Kind" Anon. 1574
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Melody: " Auf meinen lieben Gott"
Anon. 1609
A Choral Cantata, on Johann Heermann's
Lenten Hymn, " Wo soli ich fliehen hin," first
published in his Devoti Musica Cordis (Leipzig,
1630), to the melody, "Auf meinen lieben Gott."
The melody which Bach uses in the first and
last movements was generally sung to Heermann's
CANTATA V 143
Hymn, " Wo soil ich fliehen hin." By prescriptive
right it belongs to the Hymn, " Auf meinen lieben
Gott," which was published in 1607 (see Cantata
No. 188) and received the melody two years later.
Heermann's Hymn was not published until 1630
(see supra), and received its own proper melody in
1679 (see Cantata 163). B.G. xxxiii. Pref. xxi,
follows Spitta in attributing the melody, "Auf
meinen lieben Gott," to Johann Pachelbel (1653-
1706). The tune, however, has a secular origin
and is found in association with the song, " Venus
du und dein Kind," in 1574'. Bartholomaus
Gesius used the tune for the Hymn, " Man spricht :
Wen Gott erfreut," in his Ein ander new Opus
Geistlicher Deutscher Lieder (Frankfort a. Oder,
1605), and Melchior Vulpius associated it with the
Hymn, " Auf meinen lieben Gott," in his Ein schbn
geistlich Gesangbuch (Jena, 1609).
The melody also occurs in Cantatas 89, 136, 148,
and 188. Bach adopts a reconstruction of the
melody published by Johann Hermann Schein in
his Cantional, Oder Gesangbuch Augspurgischer Con-
fession (Leipzig, 1627''). Organ Works, N. xvi. 4;
xix. 32.
' Zahn, vol. II. No. ■2160.
^ The title of the second edition of Schein's work (see Part I,
p. 32, of Bach's Chorals) varies in details from that of the first.
144 CANTATA V
(a)
The words of the opening movement are the
first stanza of the Hymn :
Wo soil ich fliehen hin,
Weil ich beschweret bin
Mit viel und grossen Siinden?
Wo solP ich Rettung finden ?
Wenn alle Welt herkame,
Meiii' Angst sie nicht wegnahme.
E.G. i. 127.
An English translation of the Hymn is noted
in the Dictionary of Hymnology, p. 506.
Form. Choral Fantasia {Tromba da tirarsi,
2 Ob., Strings, Continuo'').
The words of the concluding Choral are the
eleventh stanza of the Hymn :
Fiihr' auch mein Herz und Sinn
Durch deinen Geist dahin,
Pass ich mog' alles meiden,
Was mich und dich kann scheiden,
Und ich an deinem Leibe
Ein Gliedmass ewig bleibe.
E.G. i. 150.
Form. Simple {Tromba da tirarsi, 2 Ob.,
Strings, Continuo). Choralgesdnge, No. 28.
The melody also appears in the Oboe part in the
Alto Recitativo, " Mein treuer Heiland" (B.G. i. 142).
^ 1630 kan.
^ See Spitta, ill. loi, on the form of the movement.
CANTATA VI
145
Cantata VI. Bleib' bei uns, denn es will
Abend werdeni. Easter Monday (1736)
Melody: " Danket dem Herrn, heuf und allzeit"
Anon. 1594
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' English versions of the Cantata are published by Novello &
Co., " Bide with us," and Breitkopf & Haertel, " Stay with us, the
evening approaches."
T. B. C. 10
146 CANTATA VI
(a)
The Alto melody of the above four-part setting,
which Bach uses in the third movement ("Choral"),
is associated also with the Hymns, " Ach bleib' bei
uns, Herr Jesu Christ," " Wir danken dir, O from-
mer Gott," and "Hinunter ist der Sonnenschein."
The Alto melody was in use at Leipzig in 1589,
and the above four-part setting is found in Seth
Calvisius' Hymni sacri Latini et germanici (Erfurt,
1594). No doubt it is by him.
There are other harmonisations of the Alto
melody in the Choralgesdnge, Nos. i, 313. Organ
Works, N. xvi. 10.
The words of the movement are the first and
second stanzas of Nicolaus Selnecker's Hymn,
" Ach bleib' bei uns, Herr Jesu Christ."
The first stanza, which is a translation of
Melanchthon's " Vespera jam venit, nobiscum Christe
maneto" (founded on St Luke xxiv. 29), first
appeared as a broadsheet in 1579, with Nicolaus
Herman's " Danket dem Herrn." The whole Hymn
was first published in Selnecker's Geistliche Psalmen
(Niirnberg, 161 1). Only stanzas iii-ix are by him.
Selnecker was born at Hersbruck in 1532. He
was a favourite pupil of Melanchthon at Wittenberg,
was appointed Court Preacher at Dresden 1557,
Professor of Theology at Jena 1565 and, later, at
CANTATA VI
147
Leipzig. He was a very prominent figure in eccle-
siastical Germany and died at Leipzig in 1 592 :
*Ach bleib' bei uns, Herr Jesu Christ,
Weil es nun Abend worden ist;
Dein gottlich Wort, das helle Licht,
Lass ja bei uns ausloschen nicht.
*In dieser letzt betriibten Zeit
Verleih' uns, Herr, Bestandigkeit,
Dass wir dein Wort und Sacrament
Rein behalt'n bis an unser End'.
E.G. i. 168.
Translations of the Hymn are noted in the
Dictionary of Hymnology, pp. 1040, 1599.
Form. Soprano Unison Choral ( Violoncello
piccolo, Contimioy.
Melody: " ErhaW uns, Herr, bei deinem Wort"
Anon. 1543
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The melody, "Erhalt' uns, Herr, bei deinem
Wort," which Bach uses in the concluding Choral
of the Cantata, was first published in Joseph
* Unveffdlschter Liedersegen (Berlin, 1878), No. 207, gives the
third line of stanza i as " Dein Wort, O Herr, das ewig Licht," and
" alln " for " Herr " in the second line of stanza ii.
1 The movement is No. 5 of the Scliiibler Chorals (N. xvi. 10).
10 — 2
148 CANTATA VI
Klug's Geistliche Lieder zu Wittemberg (Witten-
berg, 1543). It bears a close resemblance to the,
melody of Luther's Hymn, " Verleih' uns Frieden
gnadiglich" (see Cantata 42), both being derived
from the tune of the Antiphon, "Da pacem,
Domine," of which Luther's "Verleih' uns Frieden "
is a translation. The similarity between the
melodies is matched by the intimate association
of the two Hymns. In many districts of Germany
Luther's stanza was sung immediately after the
sermon, either by itself or with the Hymn, " Erhalt'
uns, Herr."
Bach uses the melody also in Cantata No. 126.
The sharpened fourth note of the tune in this move-
ment is found in an early text (1593).
The words of the concluding Choral are the
second stanza of Luther's Hymn, " Erhalt' uns,
Herr, bei deinem Wort," written, probably in 1541,
for a service at Wittenberg against the Turks.
Luther called the Hymn " Ein Kinderlied zu singen
wider die zween Ertzfeinde Christi und seiner heili-
geri Kirchen, den Babst und Tiircken." The Hymn
was first printed as a broadsheet at Wittenberg in
1542, and, with the tune, in Klug (see supra) :
Beweis' dein Macht, Herr Jesu Christ,
Der du Herr aller Herren bist :
Beschirm' dein' arme Christenheit,
Dass sie dich lob' in Ewigkeit.
B.G. i. 176.
CANTATA VII
149
English translations of the Hymn are noted in
the Dictionary of Hymnology, No. 353.
Form. Simple (2 Ob., Oboe da caccia, Strings,
Continue). Choralgesdnge, No. 79.
Cantata VII. Christ unser Herr zum
Jordan kam. Feast of St John Baptist
{c. 1740)
Melody. " Christ unser Herr zum Jordan kam"
.■■Johann Walther 1524
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A Choral Cantata, on Luther's Baptismal
Hymn, " Christ unser Herr zum Jordan kam." It
was written, probably, in 1541 and published as a
broadsheet in that year.
The melody, " Christ unser Herr zum Jordan
kam," or properly, "Es woU' uns Gott genadig
ISO CANTATA VII
sein," which Bach uses in the first and last move-
ments, was pubHshed first in Johann Walther's
Geystliche gesangk Buchleyn (Wittenberg, 1524),
where it is set to Luther's Hymn, " Es woll' uns
Gott." It may be attributed with great probability
to Walther himself. From 1543 (Joseph Klug) it
was attached to " Christ unser Herr."
Bach uses the melody also in Cantata 176.
There is another harmonisation of it in Choral-
gesdnge, No. 43. Organ Works, N. xvi. 62, 6"^.
(a)
The words of the opening movement are the
first stanza of Luther's Hymn :
Christ unser Herr zum Jordan kam
Nach seines Vaters Willen,
Von Sanct Johann's die Taufe nahm,
Sein Werk und Amt zu erfuUen ;
Da wollt' er stiften uns ein Bad,
Zu waschen uns von Siinden,
Ersaufen audi den bittern Tod
Durch sein selbst Blut und Wunden ;
Es gait ein neues Leben. E.G. i. 179.
English translations are noted in the Dictionary
of Hymnology, p. 226.
Form. Choral Fantasia (2 Ob. d'amore, Violino
coiicertante. Strings, Continue). The cantus is with
the Tenor^.
1 In this Chorus, Schweitzer remarks (n. 363), Bach paints on
a large scale the picture he had already sketched in the Choral
CANTATA VIII
ISI
The words of the concluding Choral are the
seventh stanza of Luther's Hymn :
Das Aug' allein das Wasser sieht,
Wie Menschen Wasser giessen:
Der Glaub' allein' die Kraft versteht
Des Blutes Jesu Christi ;
Und ist far ihn ein' rothe Fluth
Von Christi Blut gefarbet,
Die alien Schaden heilet gut^
Von Adam her geerbet,
Auch von uns selbst begangen.
B.G. i. 2IO.
Form. Simple {2 Ob. d'amore, Strings, Con-
tinuo). Choralgesdnge, No. 44.
Cantata VIII. Liebster Gott, wann werd'
ICH sterben^? Sixteenth Sunday after
Trinity (c. 1725)
Melody: '■^Liebster Gott, wann werd' ich sterben?"
Daniel Vetter 1713
^^^^^^Q^iitf
Preludes upon the melody. The movement assumes the form of
a Concerto grosso, the cmcertino consisting of a Solo Violin and
two oboi d'amore (Spitta, in. 103).
1 1543 im Geist. ^ 1543 heilen thut.
•' An English version of the Cantata, ''When will God recall my
spirit ? " is published by Novello & Co.
152
CANTATA VIII
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A Choral Cantata', on Caspar Neumann's Hymn,
" Liebster Gott, wann werd' ich sterben ? " published
in the ninth edition of the Breslau Vollstdndige
Kirchen- und Haus-Music (Breslau, n.d. c. 1700).
Neumann was a native of Breslau, where he
was born in 1648. He became pastor of St
Elizabeth's Church there, and died in 1715.
The melody of Neumann's Hymn, which Bach
uses in the first and last movements of the Cantata,
was composed by Daniel Vetter, and was first
published in the second Part (first Part 1709) of
his Musicalische Kirch- und Hauss-Ergotzlichkeit
(Leipzig, 1713). Vetter wrote the tune for Neu-
mann's Hymn at the suggestion of Jakob Wilisius,
Cantor of St Bernhardin's Church at Breslau, at
whose funeral, at his express wish, the Hymn was
sung in 1695.
Vetter, a native of Breslau, succeeded his master
Werner Fabricius as Organist of the Church of
St Nicolas, Leipzig, in 1679. He died in 1721.
Bach has not used the melody elsewhere. But
another version of it (melody and figured Bass),
' See p. 32 supra.
CANTATA VIII I 53
from Georg Christian Schemelli's Musicalisches
Gesang-Buch (Leipzig, 1736), is in B.G. xxxix.
" Arien und Lieder," No. 47.
(«)
The words of the opening movement are the
first stanza of Neumann's Hymn :
* Liebster Gott, wann werd' ich sterben ?
Meine Zeit lauft immer bin,
Und des alten Adams Erben,
Unter denen icb auch bin,
Haben dies zum Vatertheil,
Dass sie eine kleine Weil
Arm und elend sein auf Erden.
Und dann selber Erde warden. B.G. i. 213.
Form. Choral Fantasia {Corno {con Soprano),
Flauto, 2 Ob. d'amore. Strings, Continue').
The words of the concluding Choral are the
fifth stanza of Neumann's Hymn :
* Herrscher iiber Tod und Leben,
Mach' einmal mein Ende gut,
Lehre mich den Geist aufgeben
Mit recht wohlgefasstem Muth.
Hilf, dass ich ein ehrlich Grab
Neben frommen Christen hab'
Und auch endlich in der Erde
Nimmermehr zu Schanden werde.
B.G. i. 241.
Form. Simple {Corno, Flauto, 2 Ob. d'amore.
Strings, Continuo). Choralgesdnge, No. 227.
154
CANTATA IX
Cantata IX. Es ist das Heil uns kommen
HER. Sixth Sunday after Trinity (? 173 1)
Melody : " Es ist das Heil uns kommen her" Anon. 1524
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A Choral Cantata 1, on Paul Speratus' Hymn,
" Es ist das Heil uns kommen her," founded on
Romans iii. 28. It was published in the Etlich
Christlich lider Lobgesang, und Psalm (Wittenberg,
1524) and repeated in the Erfurt Enchiridion of
the same year.
Speratus (Hoffer or Offer) was born in Suabia
in 1484. He was among the earliest and most
able supporters of Luther and visited Wittenberg
in 1523 to help him in the preparation of the first
Lutheran Hymn book, the"Achtliederbuch"(J«/ra),
to which he contributed three hymns. He drafted
the Prussian Book of Church Order (1526), became
Bishop of Pomerania in 1529, and died in 1551.
- See p. 32 supra.
CANTATA IX 155
The melody of Speratus' Hymn, which Bach
uses in the opening and closing movements of the
Cantata, was published, along with the Hymn, in
the "Achtliederbuch" of 1 524. The tune originally
was sung to the Easter Hymn, " Freu' dich du werthe
Christenheit," which was in use in 1478.
Bach uses the melody in Cantatas 86, 117, 155,
186, and in the "Drei Chorale zu Trauungen"
{Choralgesdnge, No. 89). Organ Works, N. xv. 109.
There is traditional usage (153S and 1586) for
Bach's version of lines 5 and 6, and also for the
C sharp in line 2.
(a)
The words of the first movement are the first
stanza of Speratus' Hymn :
Es ist das Heil uns kommen her
Von Gnad' und lauter Giite ;
Die Werk' die helfen nimmermehr,
Sie mogen nicht behiiten ;
Der Glaub' sieht Jesum Christum an ;
Der hat g'nug fiir uns all' gethan,
Er ist der Mittler worden.
E.G. i. 345.
English translations of the Hymn are noted in
the Dictionary of Hymnology, p. 1074.
Form. Choral Fantasia {Flauto, Oboe d'amore,
Strings, Continuo).
IS6 CANTATA X
(^)
The words of the concluding Choral are the
twelfth stanza of Speratus' Hymn :
Ob sich's anliess, als wollt' er nicht,
Lass dich es nicht erschrecken ;
Denn wo er ist am besten mit,
Da will er's nicht entdecken.
Sein Wort lass dir' gewisser sein,
Und ob dein Herz^ sprach lauter Nein,
So lass doch dir nicht grauen. B.G. i. 274.
Form. Simple {Flauto, Oboe d'amore, Strings,
Continuo). Choralgesdnge, No. 87.
Cantata X. Meine Seel' erhebt den Her-
REN'. Feast of the Visitation of the B. V. M.
{c. 1740)
A Choral Cantata, on the Magnificat.
The melody of the first and last movements of
the Cantata is Tonus Peregrinus, immemorially
associated with Psalm cxiv, " In exitu Israel."
Bach introduces the melody into the Terzetto
" Suscepit Israel," in the Latin " Magnificat "
(No. 10). Two harmonisations of the melody are
in the Choralgesdnge, Nos. 120, 121. Organ Works,
N. xvi. 8 ; xviii. 75.
' 1524 das las dir. ^ 1524 fleisch.
^ An English version of the Cantata, "My soul doth magnify
the Lord," is published by Breitkopf & Haertel.
CANTATA X 157
(a)
The words of the first movement are the first
three clauses of the Magnificat:
Meine Seel' erhebt den Herren
Und mein Geist freuet sich Gottes, meines Heilandes.
Denn er hat seine elende Magd angesehen. Siehe,
von nun an werden mich selig preisen alle Kindes
Kind. B.G. i. 277.
Form. Choral Fantasia ( Tromba, 2 Ob., Strings,
Continuo). The cantus is first with the Sopranos
and then with the Altos.
(b)
The words of the concluding- Choral are the
doxology to the Magnificat:
Lob und Preis sei Gott dem Vater, und dem Sohn
und dem heiligen Geiste ;
Wie es war im Anfang, jetzt und immerdar, und von
Ewigkeit zu Ewigkeit. Amen. B.G. i. 303.
Form. Simp\e(Tromba, 2 Ob., Strings, Continuo).
Choralgesdnge, No. 122.
Bach uses the melody as an obbligato (2 Ob.
and Tromba in unison) to the Alto-Tenor Duetto
(fifth movement), " Er denket der Barmherzigkeit
und hilft seinem Diener Israel auf " (B.G. i. 299)'.
1 The movement is No. 4 of the Schiibler Chorals (N. xvi. 8).
158
CANTATA XI
Cantata XI. Lobet Gott in seinen Reichen'
Ascension Day (1735^)
Melody : " Ermuntre dick, mein schwacher Geist"
Johann Schop 1641
The sixth movement of the Cantata is a Choral
upon Johann Schop's melody, " Ermuntre dich,
mein schwacher Geist," first published in Part I of
Johann Rist's if^fAr iTe&' ^^..Jl^Selk^''
(Liineburg, 1641).
Bach uses the melody also in Cantata 43, and
in the "Christmas Oratorio/' No. 12. There is
another treatment of it (melody and figured Bass)
in Schemelli's Hymn book (1736), No. 187. Invari-
ably Bach follows Johann Crijger's remodelling of
^ English versions of the Cantata are published by Novello & Co.,
"Praise our God Who reigns in Heaven," and Breitkopf & Haertel,
' ' Praise Jehovah in His splendour. ''
2 The date is approximate. The Cantata is held to have been
composed at the same time as the Christmas and Easter Oratorios.
The former was first performed in 1734 and the latter in 1736.
CANTATA XI
159
the tune in the 1648 edition of the Praxis Pietatis
Melica (Berlin).
The words of the Choral are the fourth stanza
of Johann Rist's Ascension Hymn, " Du Lebens-
furst, Herr Jesu Christ," first published in Part I of
his Himlischer Lieder (see supra), to its own melody.
It is set to Schop's tune in Wagner (1697):
Nun lieget alles unter dir,
Dich selbst nur ausgenommen ;
Die Engel miissen fiir und fiir
Dir aufzuwarten kommen.
Die Fursten stehn audi auf der Bahn,
Und sind dir willig unterthan ;
Luft, Wasser, Feu'r und Erden
Muss dir zu Dienste werden. E.G. ii. 32.
Form. Simple (2 Fl., 2 Ob., Strings, Contimw).
Choralg^esdnge, No. 82.
Melody: " Von Gotl will ich nicht lassen"
Anon. 1572 [1571]
A syllable is wanting in the third period of the melody.
i6o
CANTATA XI
Melody : " //el/i inir Goti's Giile prdsen "
Wolfgang Figulus 1575 [1569]'
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The melody of the concluding movement is
known as "Von Gott will ich nicht lassen," from
its association with Ludwig Helmbold's Hymn, or
" Helft mir Gott's Giite preisen," from its association
with Paul Eber's Hymn. Its source is the tune of
a secular song, " Ich ging einmal spazieren," which
was extant in 1569. As a Hymn tune the melody
was first published by Joachim Magdeburg in his
Christliche und Trostliche Tischgesange (Erfurt, 1 572
[1571]) and by Wolfgang Figulus (two melodies)
in his Weynacht Liedlein (Frankfort a. Oder, 1575
[1569])^.
1 For Figulus' first melody, see BacKs Chorals, Part I, p. 63.
"^ See Bach's Chorals, Part I, p. 63.
CANTATA XI l6l
Bach uses the melody " Von Gott " with varia-
tions which have earlier sanction. It appears in
Cantatas 73, 107. It also occurs in Cantata D4,
" Lobt ihn mit Herz und Munde,'' attributed to
Bach, and there are harmonisations of the tune in
the Choralgesdnge, Nos. 324, 325, 326. Organ Works,
N. xvii. 43.
Figulus' second melody (supra) belongs exclu-
sively to Eber's Hymn. It appears to originate as
a Tenor melody of the first melody, to which its
own Tenor bears a clear relation. In spite of its
derivation, its individuality permits the tune to be
regarded as a separate melody. It occurs in Can-
tatas 16, 28, 183. Organ Works, N. xv. 39.
The words of the Choral are the seventh stanza
of Gottfried Wilhelm Sacer's Ascension Hymn,
" Gott fahret auf gen Himmel," published in his
Geistliche, liebliche Lieder (Gotha, 17 14), to the
melody, " Von Gott will ich nicht lassen " :
Wann soil es doch geschehen,
Wann kommt die liebe Zeit,
Dass ich ihn werde' sehen
In seiner Herrlichkeit ?
Du Tag, wann wirst du sein,
Dass wir den Heiland griissen,
Dass wir den Heiland kiissen ?
Komm, stelle dich doch ein !
B.G. ii. 40.
' 1 7 14 wir ihn werden.
T. B. C. ' ^
1 62
CANTATA XII
English translations of the Hymn are noted in
the Dictionary of Hymnology, p. 984.
Form. Choral Fantasia (3 Trombe, Timpani,
2 Fl., 2 Ob., Strings, Continuo).
Cantata XII. Weinen, Klagen, Sorgen,
Zagen'^. Third Sunday after Easter ("Jubi-
late") (1724 or 1725)
Melody: " Was Gott thut, das ist wohlgethan"
Anon. i6go
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?
The concluding Choral is set to the melody,
" Was Gott thut, das ist wohlgethan," published in
the Niirnbergisches Gesang-Buch (Nurnberg, 1690),
which contains eight melodies not found in the first
(1676) edition of the book. Four of them ("Was
Gott thut " being one) are anonymous.
' English versions of the Cantata are published by Novello & Co.,
"Wailing, crying, mourning, sighing," and by Breitkopf & Haertel,
' ' Weeping, wailing, mourning, fearing.''
CANTATA XII 163
The authorship of the tune has been attributed
to Severus Gastorius of Jena, for whom the Hymn
was written. With greater probabihty it has been
assigned to Johann Pachelbel, who was born in
1653 at Niirnberg, and held important positions as
organist at Eisenach, Erfurt (1678-90), Stuttgart,
Gotha and Niirnberg. He died in 1706. The tune
certainly is associated with Pachelbel, who set it
in Motett form during his residence at Erfurt,
c. 1680.
On the other hand, the first line of the melody
is set to the Hymn, " Frisch auf, mein Geist, sei
Wohlgemuth," in E. C. Homburg's Geistlicher Lieder,
Erster Theil, mit zweystimmigen Melodeyen gezieh-
ret von Wernero Fabricio (Naumburg, 1659 [1658]).
Werner Fabricius, born in 1633, was Music Director
at St Paul's Church, and Organist of St Nicolas'
Church, Leipzig. He died in 1679.
The tune is referred to in the 1693 (Frankfort)
edition of the Praxis Pietatis Melica as " bekannte
Melodic," a statement which disposes of Gastorius',
and perhaps of Pachelbel's, claim to it.
Bach uses the melody also in Cantatas 69, 75,
98, 99, 100, 144, and in the " Drei Chorale zu Trau-
ungen " {Choralgesdnge, No. 339),
The words of the Choral are the sixth stanza of
Samuel Rodigast's Hymn, " Was Gott thut, das ist
wohlgethan," founded on Deuteronomy xxxii. 4.
l64 CANTATA XIII
Rodigast was born at Groben near Jena in 1649.
He became Co-rector (1680) and Rector (1698) of.
the Greyfriars Gymnasium at Berlin. He died in
1708. The Hymn is said to have been written in
167s at Jena for his sick friend, Severus Gastorius,
Cantor there. It was published in Das Hannover-
ische ordentliche Vollstandige Gesangbuch (Gottingen,
1676) :
Was Gott thut, das ist wohlgethan,
Dabei will ich verbleiben,
Es mag mich auf die rauhe Bahn
Noth, Tod und Elend treiben,
So wird Gott mich ganz vaterlich
In seinen Armen halten :
Drum lass' ich ihn nur walten. B.G. ii. 78.
English translations of the Hymn are noted in
the Dictionary of Hymnology, p. 972.
Form. Embellished (" Oboe 0 Tromba" Fagotto,
Strings, Continuo). Choralgesdnge, No. 340.
Cantata XIH. Meine Seufzer, meine
ThrAnen. Second Sunday after the Epiphany
{c. 1736)
Melody: "'Atnsz qiion oit le cerf bruire"
Louis Bourgeois 1542
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CANTATA XIII
165
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(«)
The melody of the third movement is known as
" Freu' dich sehr, O meine Seele," from its associa-
tion with that Hymn. The latter, however, has
its proper melody, first published, with the Hymn,
in Christopher Demantius' Threnodiae, Das ist:
Ausserlesene Trostreiche Begrdbniiss Gesdnge (Frei-
berg, 1620), and probably composed, or adapted, by
Demantius himself Its opening three notes and
its seventh line are identical with the opening line
of the melody supra. The latter tune was first
published in Bourgeois' Psalms (1542) and Jean
Crespin's Pseaumes octante trois de David (Geneva,
1 551), set to Beza's version of Psalm xlii. An
extract from the Geneva Council archives of
July 28, 1552, establishes Louis Bourgeois as
the composer of '"Ainsi qu'on oit" ("Wie nach
einem Wasserquelle"), and the other tunes to Beza's
Psalms in the Psalter. In the second edition of
Schein's Cantional (1645) the tune is set to the
anonymous Hymn, " Freu' dich sehr."
1 66 CANTATA XIII
Bourgeois, born in Paris early in the i6th
century, was invited to Geneva in 1541. In 1545
he succeeded Guillaume Franc (d. 1570) as Master
of the children and music school there, on Franc's
transference to Lausanne Cathedral. In December
1551 Bourgeois was imprisoned for having altered
" without leave " the tunes of some of the Psalms,
presumably those of the Psalter of 1551. He was
released on Calvin's intervention, returned to Paris
in 1557, and was living in 1561.
Bach uses the melody also in Cantatas 19, 25,
30, 32, 39, 70, and 194. There appears not to be
an earlier example of Bach's treatment of the last
phrase of the tune.
The words of the movement are the second
stanza of Johann Heermann's " Zion klagt mit
Angst und Schmerzen," first published in his
Devoti Musica Cordis (second edition, Leipzig,
1636), to Bourgeois' tune {supra) :
Der Gott, der mir hat versprochen
Seinen Beistand jederzeit,
Der lasst sich vergebens suchen
Itzt in meiner Traurigkeit.
Ach ! will er denn fiir und fiir
Grausam ziirnen iiber mir .'
Kann und will er sich des' Armen
Itzt nicht wie vorhin erbarmen ?
B.G. ii. 87.
' 1636 der.
CANTATA XIII
167
English translations of the Hymn are noted in
the Dictionary of Hymnology, p.' 505.
Form. Alto Unison Choral {Flauti, Oboe da
caccia. Strings, Continuo).
Melody : " O Welt, ich muss dich lassen "
Heinrich Isaak 1539
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The melody of the concluding Choral is Hein-
rich Isaak's "O Welt, ich muss dich lassen," first
published in Georg Forster's £in ausszug guter
alter un newer Teutscher liedlein (Nijrnberg, 1539),
to the secular song " Innspruck, ich muss dich
lassen." It was first associated with Johann Hesse's
Hymn, "O Welt, ich muss dich lassen," in 1598^
Bach uses the melody in the "St Matthew
Passion," Nos. i6and 44; in the "St John Passion,"
' See Bach's Chorals, Part I, p. 5.
l68 CANTATA XIII
No. 8; and in Cantatas 44 and 97. There are four
other harmonisations of the melody in Choral-
gesdnge, Nos. 289-291, 298. By 1598 the tune
virtually had assumed the form familiar to Bach's
generation. Line 3, however, only began to take
modern shape in Schein's Cantional of 1627.
The words of the movement are the fifteenth
stanza of Paul Flemming's Hymn, "In alien meinen
Thaten," first published in his Teutsche Poemata
(Liibeck, 1642), and set to Isaak's tune {supra)
in a recension dated 1670.
Flemming was born at Hartenstein in 1609,
was laureated as a poet at Leipzig University in
163 1, and betook himself to Holstein two years
later in order to escape the miseries of the Thirty
Years' War. Thence he was sent on an embassy
to Russia (1633) and Persia (1635). The Hymn
was written in 1633, on the eve of his departure
for Russia. In 1640 Flemming graduated M.D. at
Leyden and died there in the same year :
So sei nun, Seele, deine,
Und traue dem alleine,
Der dich erschaffen^ hat.
Es gehe wie es gehe,
Dein Vater in der Hohe
Der weiss zu alien Sachen Rath^.
B.G. ii. 98.
' [642 geschaffen.
^ [643 Weiss alien Sachen Raht. Bach'.? line is a variant reading
as old as 1670 (Fischer-Tiimpel, I. 435).
CANTATA XIV
169
English translations of the Hymn are noted in
the Dictionary of Hymnology, p. 378.
Form. Simple {Flauti, Oboe, Strings, Continuo).
Choralgesdnge, No. 295.
Cantata XIV. War' Gott nicht mit uns
DIESE Zeit. Fourth Sunday after the
Epiphany (1735)
Melody : " War' Gott nicht mit uns diese Zeit"
? Johann Walther 1524
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A Choral Cantata, on Luther's Hymn, "War'
Gott nicht mit uns diese Zeit," a version of Psalm
cxxiv, first published in the Geystliche gesangk
Buchleyn (Wittenberg, 1524), with the melody.
The melody may be attributed to Johann
Walther, Luther's collaborator, or alternatively, to
Luther himself.
Bach has not used the melody elsewhere.
170 CANTATA XIV
(a)
The words of the opening movement are the
first stanza of Luther's Hymn :
War' Gott nicht mit uns diese Zeit,
So soil Israel sagen,
War' Gott nicht mit uns diese Zeit,
Wir hatten miissen' verzagen,
Die so ein armes Hauflein sind,
Veracht von so viel Menschenkind,
Die an uns setzen alle. B.G. ii. loi.
Translations of the Hymn are noted in the
Dictionary of Hymnology, p. 1232.
Form. Choral Fantasia, in the Organ Choral
form, the vocal themes being used in Counterpoint
against the Choral melody in the orchestra (Corno
da caccia, 2 Ob., Strings, Continuoy.
The words of the concluding Choral are the
third stanza of Luther's Hymn :
Gott Lob und Dank, der nicht zugab,
Dass ihr Schlund uns mogt fangen.
Wie ein Vogel des Stricks kommt ab,
1st unsre Seel' entgangen.
Strick ist entzwei und wir sind frei,
Des Herren Name steht uns bei,
Des Gottes Himmels und Erden.
B.G. ii. 132.
Form. Simple (2 Ob., Corno da caccia. Strings,
Continue). Choralgesdnge, No. 330.
' 1524 must. ^ See Spitla, III. 66; Party, p. 420.
CANTATA XV
171
Cantata XV. Denn du wirst meine Seele
NICHT IN DER HOLLE LASSEN. Easter Day
(1704)
Melody : " Wenn mein Stiindlein vorhanden ut"
Nicolaus Herman 1569
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The melody of the Choral sung in the last
thirty bars of the concluding movement is Nicolaus
Herman's " Wenn mein Stiindlein vorhanden ist,"
first published, with the Hymn, in Johann Wolff's
Kirche Gesdng, Aus dem Wittenbergiscken, und
alien andem den besten Gesangbuchem (Frankfort
a. Main, 1569).
Herman was born circ, 1485. In 1524 he was
acting as Master in the Latin School and Cantor
of the church at Joachimsthal in Bohemia. He
172 CANTATA XV
died there in 1 561. He was a great lover of music,
a good organist, and is credited with the authorship
of the tunes set to his Hymns.
Bach uses the melody also in Cantatas 31 and
95. There are other harmonisations of the tune in
the Choralgesdnge, Nos. 353, 354, 355. The con-
cluding line of Bach's text is a variation of the
original melody as old as 1584 (M. Eucharius
Zinckeisen's Kirchen Gesdng, Frankfort a. Main,
1584). His other variations also are found in
earlier texts.
The words of the Choral are the fourth stanza
of Nicolaus Herman's Hymn for the Dying, " Wenn
mein Stiindlein vorhanden ist," first published in
his Die Historien von der Sindfludt " (Wittenberg,
1562 [1560]):
Weir du vom Tod' erstanden bist,
Werd' ich im Grab' nicht bleiben,
Mein hochster Trost dein' Auffahrt ist,
Tod'sfurcht kann sie vertreiben ;
Denn wo du bist da komm' ich hin,
Dass ich stets bei dir lab' und bin,
Drum fahr* ich hin mit Freuden.
B.G. ii. 169.
English translations of the Hymn are noted in
the Dictionary of Hymnology, p. 1254.
Form. Extended (3 Clarini, Timpani, Strings,
Continuo).
CANTATA XVI 173
Cantata XVI. Herr Gott dich loben wir.
Feast of the Circumcision (New Year's Day)
(? 1724)
Melody: ^^ Herr Gott dich loben wir" Anon. 1535
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In the opening movement Bach employs the
melody, " Herr Gott dich loben wir," a simplified
form of the plainsong melody of the Ambrosian
" Te Deum laudamus." It was published in
Joseph Klug's Geistliche Lieder (Wittenherg, 1535),
with Luther's version of the " Te Deum," and no
doubt had appeared in association with the latter
in the first (1529) edition of that book. Only the
first four lines of the melody are printed above.
See the Choralgesdnge, No. 133, and Organ Works,
N. xviii. 44, for the complete setting.
Bach uses the melody also in Cantatas 119,
120, 190.
The words of the opening movement are the
first two clauses of Luther's free version of the
174 CANTATA XVI
" Te Deum," first published in Joseph Klug's
Geistliche Z.?>^^ (Wittenberg, 1535 [1529]):
Herr Gott dich loben wir,
Herr Gott wir danken dir !
Dich, Gott Vater' in Ewigkeit,
Ehret die Welt weit und breit.
B.G. ii. 175.
EngUsh translations of Luther's version are
noted in the Dictionary of Hymnology, p. 1 1 34.
Form. Choral Fantasia (2 Ob., Corno da caccia.
Strings, Continuo).
For the melody of the concluding Choral,
" Helft mir Gott's Giite preisen " (second version),
see Cantata 1 1 .
The words of the movement are the sixth
stanza of Paul Eber's Hymn for the New Year,
" Helft mir Gott's Giite preisen,'' first published
in Eichorn's Geistliche Lieder (Frankfort a. Oder,
c. 1580).
Eber was born at Kitzingen, Bavaria, in 151 1.
He entered the University of Wittenberg in 1532,
and eventually held the Chairs of Latin and
Hebrew there. He was a friend of Melanchthon
and, next to Luther, is the best poet of the Witten-
berg School. He died in 1 569. The Hymn is an
acrostic upon the name " Helena," borne by his
' 1535 Dich Vater.
CANTATA XVII 17S
wife and daughter, spelt by the initial letters of the
six stanzas :
Air solch' dein Gut' wir preisen,
Vater in's Himmels Thron,
Die du uns thust beweisen
Durch Jesum' deinen Sohn,
Und bitten ferner'' dich,
Gieb uns ein friedlich' Jahre,
Vor alles Leid bewahre
Und nahr" uns mildiglich. B.C. ii. 198.
An English translation is noted in the Dictionary
of Hymnology, p. 319.
Form. Simple (2 Ob., Corno da caccia, Strings,
Continud). Choralgesange, No. 125.
Cantata XVII. Wer Dank opfert, der
PREISET MICH. Fourteenth Sunday after
Trinity (c. 1737)
Melody: '''■Nun loV, mein' SeeP, den H err en"
PJohann Kugelmann 1540
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176 CANTATA XVII
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The melody of the concluding Choral, " Nun
lob', mein' Seel', den Herren," was first published,
with the Hymn, in Johann Kugelmann's News
Gesanng, mit Dreyen stymmen (Augsburg, 1540), a
Hymn book compiled for the use of the Lutheran
Church in Prussia and one of the earliest of its
kind after Walther's (1524). It contained thirty-
nine hymns, for the majority of which (thirty)
Kugelmann composed the tunes.
Kugelmann is said to have been born at Augs-
burg. In 1 5 19 he was in the service of the Emperor
Maximilian I at Innspruck as Court Trumpeter.
Later he passed into the service of Duke Albert of
Prussia in a similar capacity, and eventually became
Ducal Capellmeister at Kbnigsberg. He died in
1542.
Bach uses the melody also in Cantatas 28, 29,
51, 167, in Motett I, " Singet dem Herrn ein neues
Lied," and in the so-called Motett, " Sei Lob und
Preis mit Ehren." Other harmonisations of the
tune are in the Choralgesdnge, Nos. 269, 270. The
variations of the original melody which appear in
CANTATA XVII 1 77
Bach's versions are found in texts within sixty years
of the publication of the tune in 1 540.
The words of the Choral are the third stanza
of Johann Graumann's (Poliander) "Nun lob',
mein' Seel', den Herren," a version of Psalm ciii,
first published as a broadsheet at Nurnberg c. 1540,
and, with the tune, in Kugelmann's News Gesanng
(1540).
Graumann was born at Neustadt in the
Bavarian Palatinate, in 1487. In 1520 he became
Rector of the Thomasschule, Leipzig. On Luther's
recommendation he was invited to aid the Reforma-
tion movement in Prussia, and in 1525 became
pastor of the Altstadt Church at Konigsberg. He
died there in 1541. The Hymn is said to have
been written in 1525 at the request of Albert
of HohenzoUern, High Master of the Teutonic
Order and first Duke of Prussia (d. 1 568) :
Wie sich ein Vat'r^ erbarmet
tjb'r seine junge Kindlein klein :
So thut der Herr uns Armen,
So wir ihn kindlich fiirchten rein.
Er kennt das arm' Gemachte,
Er^ weiss, wir sind nur Staub.
Gleich wie das Gras vom Reche,
Ein' Blum' und fallend Laub :
Der Wind nur driiber wehet,
So ist es nimmer da :
Also der Mensch vergehet,
Sein End', das ist ihm nali. B.G. ii. 225.
1 1540 man. ^ 1540 Got.
T. B. C. 12
178
CANTATA XVIII
Translations of the Hymn into English are
noted in the Dictionary of Hymnology, p. 451.
Form. Simple (2 Ob., Strings, Continuo).
Choralgesdnge, No. 271.
Cantata XVI II. Gleich wie der Regen und
SCHNEE VOM HiMMEL FALLT. Sexagesima
Sunday (1713 or 1714)
Melody: " Durch Adams Fall isi gam verderbt"
Anon. 153s
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The melody of the concluding Choral, " Durch
Adams Fall ist ganz verderbt," first appeared in
Joseph Klug's Geistliche Lieder (Wittenberg, 1535
[1529]), with the Hymn. It is said to be the
melody of the song, " Was woll wir aber heben an,"
sung at the Battle of Pavia in 1525.
Bach uses the melody also in Cantata 109.
Organ Works, N.-xv. 107; xviii. 28.
The words of the Choral are the eighth stanza
of Lazarus Spengler's "Durch Adams Fall ist
ganz verderbt," first published in Johann Walther's
CANTATA XVIII 179
Geystliche gesangk Buchleyn (Wittenberg, 1524),
with two melodies, probably by Walther himself.
Lazarus Spengler was born at Niirnberg in
1479. He made Luther's acquaintance when the
Reformer visited the city in 15 18 on his way to
Augsburg, and became a leader of the Reformation
in Niirnberg, where he was successively Raths Syn-
dikus and Rathsherr. He died in 1534:
Ich bitt' O Herr, aus Herzens Grund,
Du woUst nicht von mir nehmen
Dein heil'ges Wort aus meinem Mund ;
So wird mich nicht beschamen
Mein' Siind und Schuld,
Denn in dein Huld
Setz' ich all mein Vertrauen.
Wer sich nur fast
Darauf verlasst,
Der wird' den Tod nicht schauen.
B.G. ii. 252.
English translations of the Hymn are noted in
the Dictionary of Hymnology, p. 1072.
Form. Simple (2 FL, Fagotto, 4 Violas, Con-
tinuo). Choralgesdnge, No. 73.
Ba,ch introduces the melody into the accom-
paniment of the Bass Recitativo, " Gleich wie der
Regen," and the following Chorus, " Mein Gott,
hier wird" (B.G. ii. 237).
Four clauses of the Litany are inserted into the
second movement (B.G. ii. 238).
' 1524 wurd.
12 — 2
l8o CANTATA XIX
Cantata XIX. Es erhub sich ein Streit.
Feast of St Michael the Archangel (1726)
For the melody of the concluding Choral,
"Ainsi qu'on oit le cerf," see Cantata 13.
The words of the concluding Choral are the
ninth stanza of the anonymous funerary Hymn,
"Freu' dich sehr, O meine Seele," first published
in Christopher Demantius' Threnodiae (Freiberg,
1620), and set to Bourgeois' melody in the second
(1645) edition of Schein's Caniional:
Lass' dein' Engel mit mir fahren
Auf Elias Wagen roth,
Und mein' Seele wohl bewahren,
Wie' Laz'rum nach seinem Tod.
Lass' sie ruhn in deinem Schoos,
Erfull' sie mit Freud' und Trost,
Bis der Leib kommt aus der Erde,
Und mit ihr^ vereinigt werde. B.G. ii. 288.
Translations of the Hymn into English are
noted in the Dictionary of Hymnology, p. 395.
Form. Embellished (3 Trombe, Timpani, 2 Ob.,
Taille*, Strings, Continuo). Ckoralgesange, No. 99.
Bach introduces the melody " Herzlich lieb
hab' ich dich, O Herr" into the fifth movement,
the Tenor Aria " Bleibt ihr Engel," as a Tromba
obbligato (B.G. ii. 279). He had in mind the third
stanza of the Hymn. See the Michaelmas Cantata
No. 149 for melody and stanza.
1 1620 Mit. Bach's version follows Schein.
"^ 1620 Mit Ehr wird. ^ The Taille was a Tenor Bassoon.
CANTATA XX
ISI
Cantata XX. O Ewigkeit, du Donner-
WORT. First Sunday after Trinity {c. 1725)
Melody: '■'■ Wach auf, mein Geist" Johann Schop 1642
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Johann Criiger's reconstruction 1653
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A Choral Cantata^ on Johann Rist's Hymn,
" O Ewigkeit, du Donnerwort," first published in
the fourth Part of his Himlischer Lieder (Liineburg,
1642).
The melody which Bach uses in the opening
Chorus, and in the concluding Chorals of Parts I
^ See p. yi supra.
I 82 CANTATA XX
and II, was composed byjohann Schop forjohann
Rist's "Wach auf, mein Geist, erhebe dich," and
was published, with that Hymn, in Part III (1642)
of the Himlischer Lieder. Schop also wrote a
melody for " O Ewigkeit, du Donnerwort," for
Part IV of Rist's collection. Johann Criiger's re-
construction of " Wach auf," which Bach follows
almost exactly, was published, with the Hymn " O
Ewigkeit, du Donnerwort," in his Praxis Pietatis
Melica (Berlin, 1653), a"<i ^Iso in Christoph
Runge's D. M. Luthers Und anderer vornehmen
geistreichen und gekhrten Manner Geistliche Lieder
und Psa/men {Berlin, 1653).
Bach uses the melody in Cantata 60. Other har-
monisations of it are in Anna Magdalena Bach's
Notenbuchlein, and Choralgesdnge, No. 275.
(«)
The words of the opening movement are the
first stanza of Rist's Hymn :
O Ewigkeit, du Donnerwort,
O Schwert, das durch die Seele bohrt,
O Anfang sonder Ende !
O Ewigkeit, Zeit ohne Zeit,
Ich weiss vor grosser Traurigkeit
Nicht, wo ich mich hin wende' ;
Mein ganz erschrocknes Herz erbebt,
Dass mir die Zung' am Gaumen klebt.
B.G. ii. 293.
' i64'2 hin mich wende.
CANTATA XX I 83
English translations of the Hymn are noted in
the Dictionary of Hymnology, p. 828.
Form. Choral Fantasia (3 Ob., Tromba da
tirarsi. Strings, Continue).
ib)
The words of the concluding Choral of Part I
are the eleventh stanza of Rist's Hymn :
So lang ein Gott im Himmel lebt
Und liber alle Wolken schwebt,
Wird solche Marter wahren :
Es wird sie plagen Kalt' und Hitz',
Angst, Hunger, Schrecken, Feu'r und Blitz,
Und sie doch nicht' verzehren.
Denn wird sich enden diese Pein,
Wenn Gott nicht mehr wird ewig sein.
B.G. ii. 317.
Form. Simple {Tromba da tirarsi, 3 Ob.,
Strings, Continue). Choralgesdnge, No. 276.
i.c)
The words of the concluding Choral of Part II
are the sixteenth stanza of Rist's Hymn :
O Ewigkeit, du Donnerwort,
O Schwert, das durch die Seele bohrt,
O Anfang sender Ende !
O Ewigkeit, Zeit ohne Zeit,
Ich weiss vor grosser Traurigkeit
Nicht, wo ich mich hin wende.
Nimm du mich, wenn es dir gefallt,
Herr Jesu, in dein Freudenzelt. B.G. ii. 327.
Form. Simple {Tromba da tirarsi, 3 Ob.,
Strings, Continue). Choralgesdnge, No. 276.
■ 1642 nie.
1 84
CANTATA XXI
Cantata XXI. Ich hatte viel Bekummer-
Niss^ For General Use= (1714)
Melody: " Wer nur den lieben Gott Idsst ivalten"
Georg Neumark 1657
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In the ninth movement, the Chorus " Sei nun
wieder zufrieden," Bach makes use of the words and
melody of Georg Neumark's Hymn, "Wer nur
den lieben Gott lasst walten," published together in
his Fortgepflantzter Musikalisch-Poetischer Lust-
wald (Jena, 1657).
Georg Neumark was born at Langensalza in
Thuringia in 162 1. In 1652 (?) the Grand Duke of
Saxe- Weimar appointed him Court Poet, Librarian
and Registrar of the administration at Weimar.
Of the " Fruit-bearing Society," the chief German
literary union in the 17th century, he became
Secretary in 1656. He died in 1681. The melody
was composed by Neumark for the Hymn.
' English versions of the Cantata are published by Novello & Co.,
"My spirit was in heaviness," and Breitkopf & Haertel, "I had
great heaviness of heart."
^ The Score is inscribed, "Per ogni tempo." The Cantata is
appropriate particularly to the Third Sunday after Trinity, by whose
Epistle it was suggested.
CANTATA XXI 185
Bach uses the melody also in Cantatas 27, 84,
88, 93, 166, 179, and 197. There is another har-
monisation of the tune in the Choratgesange, No. 367.
Mendelssohn uses it for the Choral, " To Thee, O
Lord, I yield my spirit," in " St Paul," No. 9. Bach's
version of the last line of the tune is invariable and
is not noted by Zahn as having earlier authority.
Organ Works, N. xv. 117; xvi. 6; xix. 21, 22.
The words of the Choral are the second and
fifth stanzas of Neumark's Hymn, which was written
at Kiel in 1641 :
^ Was helfen uns die schweren Sorgen ?
Was hilft uns unser Weh und Ach ?
Was hilft es, dass wir alle Morgen
Beseufzen unser Ungemach?
Wir machen unser Kreuz und Leid
Nur grosser durch die Traurigkeit.
Dank' nicht in deiner Drangsalshitze,
Dass du von Gott verlassen seist,
Und dass der Gott^ im Schoosse sitze,
Der sich mit stetem Gliicke speist.
Die Folgezeit verandert viel,
Und setzet Jeglichem sein Ziel.
B.G. V. (i) 36.
Translations of the Hymn into English are
noted in the Dictionary of Hymnology, p. 796.
Form. Choral Motett {Oboe, Fagotto, 4 Trom-
bones, Strings, Organ, Contimw). The cantus is
with the Tenor.
1 1657 Gott der.
1 86
CANTATA XXII
Cantata XXII. Jesus nahm zu sich die
ZWOLFE. Quinquagesima (" Esto Mihi ") Sun-
day (1723)
Melody : " Herr Christ, der einig' Gotfs Sohn "
Anon. 1524
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In the concluding Choral Bach uses the words
and melody of the Christmas Hymn, " Herr
Christ, der einig' Gott's Sohn," published together
in the Erfurt Enchiridion Oder eyn Handbuchlein
(1524) and in Johann Walther's Geystliche gesangk
Buchleyn (Wittenberg, 1524). The tune bears a
close relation to that of the secular song " Ich hort
CANTATA XXII 1 87
ein Fraulein klagen," published in 1549. Presum-
ably the secular tune is the earlier, and Walther's
influence upon the 1524 version may be assumed.
Bach uses the melody also in Cantatas 96, 132,
164. Organ Works, N. xv. 9; xviii. 43.
The words of the Choral are the fifth stanza of
EHsabethe Cruciger's Christmas Hymn, " Herr
Christ, der einig' Gott's Sohn," first published, with
the tune, in the Enchiridion and Buchleyn of 1524.
The authoress was the daughter of a Polish
refugee residing at Wittenberg, where she married
Caspar Cruciger, a student at the University, in
1524. Cruciger, who was regarded by Luther with
great affection and was treated as a son, became
one of the Professors of Theology in the University.
His wife, a great lover of music, died at Wittenberg
in 1535. This is the only Hymn of hers extant or
known :
Ertodt' uns durch dein' Giite,
Erweck' uns durch dein' Gnad' ;
Den alten Menschen kranke,
Dass der neu' leben mag,
Wohl hie auf dieser Erden
Den Sinn und all' Begehrden
Und G'dankeni han zu dir. B.G. v. (i) 89.
Translations of the Hymn into English are
noted in the Dictionary of Hymnology, p. 271.
Form. Extended {Oboe, Strings, Continuo).
Erk, No. 48.
1 1524 dancken.
CANTATA XXIII
Cantata XXIII. Du wahrer Gott und
Davids Sohn \ Quinquagesima (" Esto Mihi ")
Sunday (1724)"
Melody: '■'•Christe, du Lamm Gottes'' Anon. 1557
gieb uns dei - nen Frie - den, A
In the concluding Choral Bach uses the melody
and words of the Antiphon, "Christe, du Lamm
Gottes." Words and melody appear together in
the Pfalz-Neuburg Kirchenordnung (Nurnberg,
1557), and obviously have a pre- Reformation asso-
ciation. The movement originally was the con-
cluding number of the " St John Passion."
Bach introduces the melody into the opening
movement of Cantata 127. He has not used
it elsewhere in the Cantatas, Oratorios, or Motetts.
He made an arrangement of it, however (B.G. xli.
187), in five vocal parts (2 S's.A.T.B.) with Continue
accompaniment, for the " Kyrie Eleison." Organ
Works, N. XV. 61.
' An English version of the Cantata, "Thou very God, and
David's Son," is published by Breitkopf & Haertel.
* First performed in 1724, the Cantata probably was composed
at Cothen. See Spitta, n. 350.
CANTATA XXIII 1 89
The words of the Choral are a prose translation
of the " Agnus Dei," and are found in Low German
in the Brunswick Kirchenordnung of 1528, and
in High German in the Saxon Kirchenordnung
of 1540:
* Christe, du Lamm Gottes,
Der du tragst die Siind' der Welt,
Erbarm' dich unser !
Christe, du Lamm Gottes,
Der du tragst die Siind' der Welt,
Erbarm' dich unser !
Christe, du Lamm Gottes,
Der du tragst die Siind' der Welt,
Gieb uns dein'n Frieden !
B.G. v.(i) 117.
Translations of the Antiphon are noted in the
Dictionary of Hymnology, p. 31.
Form. Choral Fantasia. (CorneUo, 3 Trombones,
2 Ob., Strings, Coniinuo). Neither the Choralgesdnge
nor Erk prints the melody.
Bach introduces the melody into the accom-
paniment of the Tenor Recitativo, " Ach, gehe nicht
voriiber," where the Violins and Oboes have it
(B.G. V. (i) 104). He employs it in the same
manner (Oboes and Horns) in the accompaniment
of the "Kyrie" of the Mass in F major (B.G. viii. 3).
igo
CANTATA XXIV
Cantata XXIV. Ein ungefArbt Gemuthe.
Fourth Sunday after Trinity (1723)
Melody: "O Gott, du frommer Cott"
Anon. 1693
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In the concluding Choral Bach uses the melody,
" O Gott, du frommer Gott," published, in associa-
tion with Johann Heermann's Hymn, in the JVeu-
vermehrtes wtd zu Ubung Christl. Gottseligkeit
eingerichtetes Meiningisches Gesangbuch (Meiningen,
1693). It is among the anonymous melodies in
that collection. But the lines which compose it
are found among the tunes (the majority of them
by Hieronymus Kradenthaller, a Regensburg
organist) in Lust- undA rtzneigarten des Koniglichen
Propheten Davids (Regensburg, 1675), and may be
regarded as a reminiscence of them. The Hymn
has other melodies, one of which Bach uses more
frequently (see Cantata 45 ).
CANTATA XXIV 19 1
The above melody is also in Cantatas 71 and 164.
There is a four-part setting of it in the Choral-
gesdnge, No. 282.
Bach's version shows important modifications
of the sixth and last lines. Practically identical
variations are found in Christian Friedrich Witt's
Psalmodia sacra (Gotha, 1715).
The set of Variations, or Partite, in N. xix. 44,
upon the melody, ",0 Gott, du frommer Gott," treat
another and earlier (1646) tune, originally known
as "Gross ist, O grosser Gott."
The words of the Choral are the first stanza of
Johann Heermann's " O Gott, du frommer Gott,"
first published in his Devoti Musica Cordis (Leipzig,
1630):
O Gott, du frommer Gott,
Du Brunnquell aller' Gaben,
Ohn' den nichts ist, was ist,
Von dem wir AUes haben :
Gesunden Leib gieb mir,
Und dass in solchem Leib'
Ein' unverletzte Seel'
Und rein Gewissen bleib' !
B.G. v.(i) 150.
English translations of the Hymn are noted in
the Dictionary of Hymnology, p. 833.
Form. Extended {Clarino, 2 Ob., Strings, Con-
tinuo).
' 1630 guter.
192 CANTATA XXV
Cantata XXV. Es ist nichts Gesundes an
MEINEM Leibe'. Fourteenth Sunday after
Trinity (c. 1731)
For the melody of the concluding Choral,
"Ainsi qu'on oit le cerf," see Cantata 13.
The words of the concluding Choral are the
twelfth stanza of Johann Heermann's " Treuer Gott,
ich muss dir klagen," first -published in his Devoti
Musica Cordis (Leipzig, 1630), to the above melody:
Ich will alle meine Tage
Riihrnen deine starke Hand,
Dass du meine Flag' und Klage
Hast so herzlich abgewandt.
Nicht nur in der Sterblichkeit
Soil dein Ruhm sein ausgebreit't :
Ich will's auch hemach erweisen,
Und dort ewiglich dich preisen.
B.G. V. (i) i88.
English translations of the Hymn are noted in
the Dictionary of Hymnology, p. 505.
Form. Simple (Cornetto, 3 Trombones, 3 FL,
2 Ob., Strings, Continue). Choralgesdnge, No. loi.
In the opening Chorus of the Cantata (B.G. v.
(i) 158) Bach introduces the melody of the peni-
tential hymn, " Ach Herr, mich armen Siinder.''
The tune is more familiar as " Herzlich thut mich
verlangen" (see Cantata 135)'^.
' English versions of the Cantata are published by Novello & Co. ,
"There is nought of soundness in all my body," and Breitkopf &
Haertel, "There is no more soundness in all my body."
2 See Spitta, 11. 466-7, on the movement.
CANTATA XXVI
193
Cantata XXVI. Ach wie Fluchtig. Twenty-
fourth Sunday after Trinity {c. 1740)
Melody: "Ach wie fluchtig" Michael Franck 1652
^rn^^
Melody; "Ach wie flUchtig"
Johann Cruger's(?) reconstruction 1661
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A Choral Cantata, on Michael Franck's funerary
Hymn, " Ach wie fliichtig," first published, with the
melody, in Franck's Die Eitelkeit, Falschheit und
Unbestdndigkeit der Welt" (Coburg, 1652).
Franck was born at Schleusingen in 1609 and
in 1628 became a master baker there. In 1640
poverty drove him to Coburg, where he taught in
the town school. In 1659 Johann Rist crowned
him as a poet and received him into his Order of
Elbe Swans. He died in 1667.
T, B. c 13
194 CANTATA XXVI
The melody, which Bach uses in the opening
and concluding movements of the Cantata, was
composed by Franck and published, in fouf-part
harmony, with the Hymn, in 1652. The Hymn
was republished in the 1661 (Berlin) edition
of Criiger's Praxis Pietatis Melica and in the
Brunswick Neuvermehrtes vollstdndiges Gesangbuch
(Brunswick, 1661), with a reconstruction of Franck's
melody which may be attributed to Johann Criiger.
The melody does not occur elsewhere in the
Cantatas. Organ Works, N. xv. 121.
{a)
The words of the opening movement are the
first stanza of Franck's Hymn :
Ach wie fluchtig,
Ach wie nichtig
1st der Menschen Leben !
Wie ein Nebel bald entstehet,
Und auch wieder bald vergehet.
So ist unser Leben, sehet !
E.G. V. (i) igi.
Translations of the Hymn into English are
noted in the Dictionary of Hymnology, p. 387.
Form. Choral Fantasia {Flauto, 3 Ob., Como,
Strings, Organ, Continuoy.
' The movement should be compared with the Prelude upon the
melody in the OrgelbUchlein (N. xv. rii).
CANTATA XXVII 195
(b)
The words of the concluding Choral are the
thirteenth stanza of Franck's Hymn :
Ach wie fluchtig,
Ach wie nichtlg
Sind der Menschen Sachen !
AUes, AUes, was wir sehen,
Dass muss fallen und vergehen ;
Wer Gott furcht't, bleibt^ ewig stehen.
B.G. V. (i) 216.
Form. Simple {Flauto, 3 Ob., Corno, Strings,
Organ, Continuo). Choralgesdnge, No. 11.
Cantata XXVII. Wer weiss, wie nahe
MIR MEIN Ende^. Sixteenth Sunday after
Trinity (1731)
{a)
For the melody of the opening Chorus, " Wer
nur den lieben Gott lasst walten," see Cantata 21.
The Choral words of the opening Chorus are the
first stanza of the funerary Hymn, "Wer weiss, wie
nahe mir mein Ende," written by Emilie Juliane
Countess of Schwarzburg-Rudolstadt.
The authoress was born in 1637, married her
cousin, the Count of Schwarzburg-Rudolstadt, and
• 1652 wird.
^ English Versions of the Cantata are published by Novello & Co.,
" O teach me. Lord, my days to number," and Breitkopf & Haertel,
" Who knows, how near my latter ending ? "
13—2
196
CANTATA XXVII
died in 1706. About 600 hymns are attributed to
her. The Hymn " Wer weiss " was published, to
the above melody, in the Rudolstadt Hymn book of
1682 (Appendix, 16881 and in M. Jok. Heinrich
Hdveckers ... Kirchen-Echo (Leipzig, 1695). Its
authorship is also claimed by Georg Michael
Pfefferkorn (1645-1732) :
Wer weiss, wie nahe mir mein Ende ?
Hingeht die Zeit, herkommt der Tod.
Ach, wie geschwinde und behende
Kann kommen tneine Todesnoth !
Mein Gott, ich bitt' durch Christi Blut,
Mach's nur mit meinem Ende gut.
B.G. V. (i) 219.
Translations of the Hymn into English are
noted in the Dictionary of Hymnology, p. 330.
Form. Choral Fantasia. The Chorus (S.A.T.B.)
is intersected by Recitativo passages accompanying
the orchestral ritornelli (2 Ob., Corno, Strings,
Continuoy.
Melody : " Welt, ade ! ich bin dein miide "
Johann Rosenmiiller 1682
' See p. 44 supra.
m
CANTATA XXVn
forie allegro
197
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The melody of the concluding Choral was com-
posed by Johann Rosenmiiller for the Hymn,
"Welt, ade ! ich bin dein mude" (1649).
Rosenmiiller was born at Pelsnitz in Saxony
in 1619. In 1642 he was assistant master in
St Thomas' School, Leipzig, and a pupil of Tobias
Michael, Cantor there. In 165 1 he was appointed
Organist of St Nicolas' Church, Leipzig. Imprisoned
in 1655 for a grave offence, he lived thereafter in
Hamburg and Italy. In 1674 he was appointed
Kapellmeister at Wolfenbiittel, and died there in
1684.
The five-part setting of the melody which Bach
uses here was published by Gottfried Vopelius in
his Neu Leipziger Gesangbuch (Leipzig, 1682
[1681]^). Vopelius was born in 1645, at Herwigs-
dorf, near Lobau, became Cantor of St Nicolas',
Leipzig, in 1675, and died in 1715.
Bach uses the melody also in Cantata 1 58.
1 The melody and Bass had appeared three years earlier in
Johann Quirsfeld's Geistlicher Harffen-Klang (Leipzig, 1 679).
198 CANTATA XXVII
The words of the concluding Choral are the
first stanza of Johann Georg Albinus' funerary
Hymn, " Welt, ade ! ich bin dein miide.'' The
Hymn was written in 1649 for the funeral of the
daughter of Abraham Teller, Archidiaconus of
St Nicolas'.
Albinus was born at Unter-Nessa, Saxony, in
1624. He was educated at Leipzig and in 1653
was appointed Rector of the Cathedral School,
Naumburg. In 1657 he became pastor of St
Othmar's Church there. He died in 1679. The
Hymn was published first as a broadsheet in 1649
and later in the Brandenburg Neu-Vollstdndigers
Gesang-Buch (Bayreuth, 1668) and Geistliches Neu-
vermehrtes Gesang-Buch (Schleusingen, 1672) :
Welt, ade ! ich bin dein miide,
Ich will nach dem Himmel zu,
Da wird sein der rechte Friede
Und die ew'ge, stolze Ruh.
Welt, bei dir ist Krieg und Streit,
Nichts denn lauter Eitelkeit;
In dem Himmel allezeit
Friede, Freud' und Seeligkeit.
B.G. V. (i) 244.
Translations of the Hymn into English are
noted in the Dictionary of Hymnology, p. 37.
Form. Simple (2 Ob., Como, Strings, Continuo).
Choralgesdnge, No. 350. Erk, No. 134, prints
Vopelius' 1682 version^
^ See Spitta, il. 452 n.
CANTATA XXVin 199
Cantata XXVIII. Gottlob! nun geht das
JAHR zu Ende^ Sunday after Christmas
(c. 1725=)
(a)
The melody of the second movement is Johann
Kugelmann's(?)"Nun lob', mein' Seel', den Herren"
(see Cantata 17).
The words of the movement are the first stanza
of Johann Graumann's Hynin, " Nun lob', mein'
Seel', den Herren " (see Cantata 17) :
Nun lob', mein' Seel', den Herren,
Was' in mir ist, den Namen sein !
Sein Wohlthat thut er mehren,
Vergiss es nicht, O Herze mein.
Hat dir dein' Siind' vergeben,
Und heilt dein' Schwachheit gross,
Errett't dein armes Leben,
Nimmt dich in seinen Schoos :
Mit reichem Trost beschiittet,
Verjungt dem Adler gleich.
Der Xon'g schafft Recht, behiitet
Die leiden in seinem Reich. B.G. v. (i) 258.
Form. Choral Motett {Cornetto, 3 Trombones,
2 Ob., Strings, Continuo). Erk, No. 319*.
' English versions of the Cantata are published by Novello & C o. ,
" O praise the Lord for all His mercies," and Breitkopf & Haertel,
" Praise God ! the year draws to its closing."
2 Wustmann suggests c, 1736. ' 1.S40 Un<l was.
* The third movement ("Sei Lob und Preis mit Ehren") of the
otherwise spurious Bach Motett, " Jauchzet dem Herrn alle Welt,"
is almost identical with the above Chorus, excepting for the substitu-
tion of the fifth for the first stanza of Graumann'} Hymn. See
Spitta, 11. 716.
200 CANTATA XXIX
For the melody of the concluding Choral,
" Helft mir Gott's Gute preisen," see Cantata ii.
The words of the concluding Choral are the
sixth stanza of Paul Eber's New Year's Hymn,
" Helft mir Gott's Gute preisen " (see Cantata i6):
All' solch' dein' Giit' wir preisen,
Vater in's Himmelsthron,
Die du uns thust beweisen,
Durch Christum, deinen Sohn,
Und bitten ferner^ dich :
Gieb uns ein friedlich's^ Jahre,
Fiir allem Leid bewahre
Und nahr" uns mildiglich.
B.G. V. (i) 272.
Form. Simple {Cornetto, 3 Trombones, 2 Ob.,
Taille^, Strings, Continuo). Choralgesange,'^o. 124.
Cantata XXIX. Wir danken dir, Gott,
WIR DANKEN DIR. For the Inauguration of
the Town Council, Leipzig (173 1)
For the melody of the concluding Choral, Johann
Kugelmann's (?) "Nun lob', mein' Seel', den Herren,"
see Cantata 17.
The words of the concluding Choral are the
fifth stanza of Johann Graumann's Hymn, " Nun
lob', mein' Seel', den Herren" (see Cantata 17).
' c. 1580 fbrder. ^ t. 1580 frolich.
' The Taille was a Tenor Bassoon.
CANTATA XXX 20I
The stanza is an addendum to the four published
in 1540 and appeared posthumously in a broad-
sheet reprint of the Hymn at Niirnberg c. 1555 :
* Sei Lob und Preis mit Ehren,
Gott Vater, Sohn, heiligem Geist !
Der wolF in uns vermehren,
Was er uns aus Gn,aden verheisst,
Dass wir ihm fest vertrauen,
Ganzlich verlass'n auf ihn,
Von Herzen auf ihn bauen,
Dass uns'r Herz, Muth und Sinn
Ihm trostlich soll'n anhangen ;
Drauf singen wir zur Stund' :
Amen ! wir werden's erlangen,
Glaub'n wir aus Herzens Grand.
B.G. V. (i) 316.
Form. Ejnbellished (3 Trombe, Timpani, 2 Ob.,
Strings, Organ, Continuo). Choralgesdnge, No. 272.
Cantata XXX. Freue dich, erloste Schaar'.
Feast of St John Baptist (1738')
For the melody of the concluding Choral of
Part I, Louis Bourgeois' "Ainsi qu'on oit le cerf,"
see Cantata 13.
The words of the concluding Choral of Part I
are the third stanza of Johannes Olearius' Hymn
' An English version of the Cantata, "Come rejoice, ye faithful,"
is published by Breitkopf & Haertel.
" The Cantata is founded upon an earlier secular work. See
Spitta, in. 77.
202 . CANTATA XXX
for St John Baptist's Day, " Trostet, trostet, meifie
Lieben," first published in his Geistlkhe Singe-
Kunsi (Leipzig, 1671), to Bourgeois' melody {supra).
Olearius was born at Halle in 161 1, In 1643
he was appointed Court Preacher and Private
Chaplain there to Duke August of Saxe-Weissenfels.
After 1680 he held appointments as Kirchenrath
and General Superintendent at Weissenfels. He
died in 1684. His Geistliche Singe-Kunst of 1671
was one of the largest and best German Hymn
books of the seventeenth century, and contained
302 hymns by Olearius himself:
Eine Stimme lasst sich horen
In der Wusten, weit und breit,
AUe Menschen zu bekehren :
Macht dem Herm den Weg bereit,
Machet Gott ein' eb'ne Bahn,
AUe Welt soil heben an,
AUe Thaler zu erhohen,
Dass die Barge niedrig stehen.
E.G. v.(i) 360.
English translations of the Hymn are noted in
the Dictionary of Hymnology, p. 866.
Form. Simple (2 Fl., 2 Ob., Strings, Organ,
Continue). Choralgesdnge, No. IQ3.
CANTATA XXXI 203
Cantata XXXI. Der Himmel lacht, die
Erde jubiliret. Easter Day (171 sO
For the words and melody of ^^ concluding
Choral, Nicolaus Herman's Hymn, *' Wenn mein
Stiindlein vorhanden ist," see Cantata 1 5.
The words are the fifth stanza of the Hymn,
which was posthumously added to its original four
stanzas in Drei schone geistliche Lieder {Coin, 1574)''.
It is not by Herman :
So fahr' ich hin^ zu Jesu Christ,
Mein' Arm'* thu' ich ausstrecken ;
So schlaf ich ein und ruhe fein,
Kein Mensch kann mich aufwecken :
Denn Jesus Christus, Gottes Sohn^
Der wird die Himmelsthiir" aufthun,
Mich fiihr'n zum' ew'gen Leben.
B.G. vii. 50.
Form. Embellished {Tromba, 3 Ob., Taille^,
Fagotto, Strings, Continuo). Ckoralgesange, No. 357.
Bach introduces the melody into the Soprano
Aria, " Letzte Stunde, brich herein," as an obbligato
for the Violins and Viola (B.G. vii. 44).
1 Schweitzer, 11. 141 n., suggests c. 1723 as the date of Bach's
revision of the 171 5 work to the form in which we have' it.
2 Wackernagel, III. iii'Z, prints from a text oi c, 1575,
= 6. 1575 Ich fahrdahin. ' c. 1575 hend.
5 c. 1575 war Gottes son.
* c. 1575 Der wird uns Chot und tempel.
1 c. 1575 Ein lassen zu dem.
' The Taille was a Tenor Bassoon.
204 CANTATA XXXII
Cantata XXXII. Liebster Jesu, mein Ver-
LANGEN'. First Sunday after the Epiphany
(c. 1740)
For the melody of the concluding Choral, Louis
Bourgeois' " Ainsi qu'on oit," see Cantata 1 3.
The words of the concluding Choral are the
twelfth stanza of Paul Gerhardt's Lenten Hymn,
"Weg, mein Herz, mit den Gedanken," first pub-
lished in Johann Criiger's Praxis Pietatis Melica
(Berlin, 1647), to another melody ("Zion klagt mit
Angst und Schmerzen ") :
Mein Gott, offne mir die Pforten
Solcher Gnad' und Giitigkeit,
Lass mich allzeit aller Orten
Schmecken deine Siissigkeit !
Liebe mich, und treib' mich an,
Dass ich dich, so gut ich kann,
Wiederum umfang' und liebe,
Und ja nun nicht mehr betriibe.
B.G. vii. 80.
Translations of the Hymn into English are
noted in the Dictionary of Hymnology, p. 412.
Form. Simple {Oboe, Strings, Continuo). Choral-
gesdnge. No. 102.
1 An English version of the Cantata is published by Breitkopf &
Haertel, " Blessed Jesus, priceless treasure."
CANTATA XXXIII
205
Cantata XXXIII. Allein zu dir, Herr Jesu
Christ. Thirteenth Sunday after Trinity
(c. 1740)
Melody: '■'■Allein zu dir, Herr Jesu Christ"
Anon. c. 1541
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A Choral Cantata, on Johannes Schneesing's
penitential Hymn, " Allein zu dir, Herr Jesu
206 CANTATA XXXIII
Christ," which was published as a Niirnberg broad-
sheet c. 1541 and was included by Luther in
Valentin Babst's Geystliche Lieder (Leipzig, 1545),
with the second version of the melody printed
above.
Schneesing, a native of Frankfort a. Main, was
pastor of Friemar, near Gotha, where he died in
1 567. He is said to have been much interested in
teaching children the hymns and tunes which he
composed.
The melody of Schneesing's Hymn, which Bach
uses in the opening and closing movements of the
Cantata in its 1 545 form, was first published, with
the Hymn, in an undated broadsheet, probably
at Wittenberg, c. 1541, and thence in Valentin
Babst's Hymn book {supra). The tune has been
attributed to Schneesing.
Bach has not used the melody elsewhere in the
Cantatas, Oratorios, or Motetts. There is another
harmonisation of it in the Choralgesdnge, No. 15.
(«)
The words of the opening movement are the
first stanza of Schneesing's Hymn :
Allein zu dir, Herr Jesu Christ,
Mein' Hoffhung steht auf Erden ;
Ich weiss, dass du mein Troster bist,
Kein Trost mag mir sonst werden.
CANTATA XXXIII '^0^
Von Anbeginn ist nichts erkor'n,
Auf Erden war' kein Mensch gebor'n,
Der mir aus Nothen helfen kann,
Ich ruf dich an*,
Zu dem ich mein^ Vertrauen hab'.
B.G. vii. 83.
English translations of the Hymn are noted in
the Dictionary of Hymnology, p. 1015.
Form. Choral Fantasia (2 Ob., Strings, Organ,
Continuo).
The words of the concluding Choral are the
fourth stanza of Schneesing's Hymn :
Ehr' sei Gott in dem hochsten Thron,
Dem Vater aller GUte,
Und Jesum Christ, sein'm liebsten* Sohn,
Der uns allzeit behiite*,
Und^ Gott, dem heiligen Geiste,
Der uns sein' Hiilf allzeit leiste,
Damit wir ihm gefallig sein,
Hier in dieser Zeit
Und folgends in der' Ewigkeit.
B.G. vii. 114.
Form. Simple (2 Ob., Strings, Organ, Continuo).
Choralges&nge, No. 16.
' c. 1541 ist. 2 (._ jj^j^j Dich ruff ich an.
•' c. 1541 all mein. * t. 1541 einigen.
° t. t54i Der woU uns all behiiten.
" c. 1S41 Auch.
208
CANTATA XXXVI
Cantata XXXVI. Schwingt freudig euch
EMPOR. First Sunday in Advent (c. 1730')
Melody: "Nun komm, der Heiden Heiland"
Anon. 1524
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Melody: " Vent Redemptor gentium" Anon. 1531^
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{a)
For the second movement of Part 1 of the
Cantata Bach uses the words and melody of
Luther's Christmas Hymn, " Nun komm, der
Heiden Heiland." The Hymn, a translation of
"Veni Redemptor gentium," attributed to St
Ambrose, was first published in the Erfurt
' A revision of an earlier (1726) work. See Spitta, II. 158, 471.
^ From Michael Weisse's Ein New Gesen^ntchlen (Jung
Bunzlau, 1531), where the melody is set to Weisse's Hymn, "Von
Adam her so lange Zeit."
CANTATA XXXVI 209
Enchiridion (1524), with the melody, a simplifica-
tion of that of "Veni Redemptor gentium."
Both Hymn and melody are also in Walther's
Geystliche gesangk Buchleyn (1524), and his assist-
ance in reconstructing the tune may be inferred.
Bach uses the melody elsewhere in Cantatas 61
and 62. Organ Works, N. xv. 3 ; xvii. 46, 49, 52 ;
xviii. 83.
The words of the second movement of Part I
are the first stanza of Luther's Hymn ;
Nun komm, der Heiden Heiland,
Der Jungfrauen Kind erkannt,
Dess sich wundert alle Welt :
Gott solch' Geburt ihm bestellt. B.C. vii. 236.
Translations of the Hymn into English are
noted in the Dictionary of Hymnology, p. 1 2 1 2.
Form. Duetto for Soprano and Alto (2 Ob.
d'amore, Organ, Continuo), treating the melody in
canon freely.
The words and melody of the concluding Choral
of Part I are Philipp Nicolai's " Wie schon leuchtet
der Morgenstern " (see Cantata i). The words are
the sixth stanza of the Hymn :
Zwingt die Saiten in Cythara
Und lasst die siisse Musica
Ganz freudenreich erschallen,
Dass ich moge mit Jesulein,
Dem wunderschonen Braut'gam mein,
In steter Liebe wallen.
T. B. c, 14
2IO CANTATA XXXVI
Singet, sprihget,
Jubiliret, triumphiret,
Dankt dem Herren !
Gross ist der Konig der Ehren. B.G. vii. 243.
Form. Simple (2 Ob. d' amove. Strings, Organ,
Continue'). Choralgesdnge, No. 377.
(^)
The words and melody of the second movement
of Part II of the Cantata are Luther's " Nun komm,
der Heiden Heiland" (see a supra). The words
are the sixth stanza of the Hymn :
Der du bist dem Vater gleich,
Fiihr' hinaus den Sieg im Fleisch,
Dass dein ewig Gott's gewalt"
In uns das krank' Fleisch enthalt'.
B.G. vii. 251.
Form. Tenor Unison Choral (2 Ob. d'amore,
Organ, Continuo).
(d)
The words and melody of the concluding Choral
are Luther's " Nun komm, der Heiden Heiland "
(see a supra). The words are the eighth stanza of
the Hymn :
Lob sei Gott dem Vater g'thon',
Lob sei Gott sein'm ein'gen Sohn,
Lob sei Gott dem heil'gen Geist,
Immer und in Ewigkeit ! B.G. vii. 258.
Form. Simple (2 Ob. d'amore. Strings, Organ,
Continuo). Choralgesdnge, No. 264.
' 1524 thon.
CANTATA XXXVII
211
Cantata XXXVII. Wer da glaubet und
GETAUFT WIRD. Ascension Day {c. 1727)
(«)
The melody and Hymn of the third movement
are "Philipp Nicolai's " Wie schon leuchtet der Mor-
genstern " (see Cantata i ). The words are the fifth
stanza of the Hymn :
Herr Gott Vater, mein starker Held !
Du hast mich ewig vor der Welt
In deinem Sohn geliebet.
Dein Sohn hat mich sich' selbst vertraut,
Er ist mein Schatz, ich bin sein' Braut,
Sehr hoch in ihm erfreuet.
Eya, eya !
Himmlisch Leben wird ergeben
Mir dort oben ;
Ewig soil mein Herz ihn loben.
B.C. vii. 272.
Form. Soprano and Alto Duetto {Continue)
in canon on the melody.
Melody: '•'■Lob' Gott getrost mit Singen" Anon. 1544
1599 ihm.
14 — 2
212 CANTATA XXXVII
Melody: ^'Ich danH dir, lieber Herre" Reconstruction 1662
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The words and melody of the concluding Choral
are Johann Kolross' (Rhodanthracius) Morning
Hymn, " Ich dank' dir, lieber Herre," first published
as a broadsheet at Niirnberg, c. 1535, and included
in Valentin S. Schumann's Geistliche lieder auffs
new gebessert und gemehrt (Leipzig, 1539).
The author is said to have been a pastor at
Basel and to have died there in 1558.
The melody " Ich dank' dir, lieber Herre " has
a secular origin. It was associated in 1532 with
the song, " Entlaubt ist uns der Walde." In 1 544
Johann Roh or Horn attached it to his Hymn,
" Lob' Gott getrost mit Singen," in his Ein
Gesangbuch der Brilder inn Behemen und Merherm "
(Niirnberg, 1544). In a simplified form the tune
was attached to Kolrosis' Hymn in the 1662
(Frankfort) Praxis Pietatis Melica.
The melody does not occur elsewhere in the
Cantatas or Oratorios. Choralgesange, Nos. 176, 177.
CANTATA XXXVIII
213
The words of the concluding Choral are the
fourth stanza of the Hymn :
Den Glauben mir verleihe
An dein'n Sohn, Jesum Christ,
Mein' Siind' mir auch verzeihe
AUhier zu dieser Frist.
Du wirst mir's nicht versagen,
Was' du verheissen hast,
Dass er mein' Siind' thu' tragen
Und 16s' mich von der Last. B.G. vii. 282.
Translations are noted in the Dictionary of
Hymnology, p. 631.
Form. Simple (2 Ob. d'amore, Strings, Con-
tinuo). Choralgesdnge, No. 178.
Cantata XXXVIII. Aus tiefer Noth schrei
ICH zu DIR^. Twenty-first Sunday after
Trinity {c. 1740)
Melody: "Aus tiefer Noth schrei ich zu dir"
' ? Martin Luther 1524
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" An English version of the Cantata, "From depths ofwoel call
on Thee," is published by Novello & Co.
214 CANTATA XXXVIII
A Choral Cantata, on Martin Luther's free
translation of Psalm cxxx, written in 1523 and
published in 1524, with the melody, in Walther's
Geystliche gesangk BucMeyn (Wittenberg). An
earlier version of the Hymn (with the melody)
is in Eyn Enchiridion oder Handbuchlein (Erfurt,
1524), and (to another tune) in Etlich Christlich
lider (Wittenberg, 1524). The tune is known as
" Luther's 1 30th," and may be regarded with some
probability as his composition.
The melody does not occur elsewhere in the
Cantatas or Oratorios. Organ Works, N. xvi. 68, 72.
(«)
The words of the opening movement are the
first stanza of Luther's Hymn :
Aus tiefer Noth schrei ich zu dir,
Herr Gott, erhdr' mein Rufen !
Dein' gnadig' Ohr' neig her zu mir', '
Und meiner Bitt' sie offhe.
Denn so du willt das sehen an,
Was Siind' und Unrecht ist gethan ;
Wer kann, Herr, vor dir bleiben?
B.G. vii. 285.
Translations of the Hymn into English are
noted in the Dictionary of Hymnology, pp. 96, 1607.
^^ytorm. Choral Motett (2 Oh., 4 Trombones,
Strings, Continue). Erk, No. 150.
' iCji.^ Deyn gnedig oren ker zu myr.
CANTATA XXXIX 21 S
(b)
The words of the concluding Choral are the fifth
stanza of Luther's Hymn :
Ob bei uns ist der Siinden viel,
Bei Gott ist viel mehr Gnade,
Sein' Hand zu helfen hat kein Ziel,
Wie gross auch sei der Schade.
Er ist allein der gute Hirt,
Der Israel erlosen wird
Aus seinen Siinden alien. B.G. vii. 300.
Form. Simple (4 Trombones, 2 Ob., Strings,
Continuo). Choralgesdnge, No. 31.
Bach introduces the melody (basso marcato)
into the accompaniment of the Soprano Recitativo
a battuta, "Ach! dass mein Glaube" (B.G vii. 295).
Cantata XXXIX. Brich dem Hungrigen
DEIN Brod^ First Sunday after Trinity
{c. 1740)
The melody of the concluding Choral is Louis
Bourgeois' "Ainsi qu'on oit" (see Cantata 13).
The words of the concluding Choral are the
sixth stanza of David Denicke's paraphrase of the
Beatitudes, "Kommt, Icisst euch den Herren lehren."
The Hymn was first published, to Bourgeois'
melody, in the New Ordentlich Gesangbuch (Bruns-
wick, 1648), of which Denicke and Justus Gesenius
(1601-73) were the editors.
^ An English version of the Cantata, "Give the hungry man thy
bread," is published by Novello & Co.
2l6
CANTATA XL
Denicke was born at Zittau in 1603. In 1629
he became tutor to the sons of Duke Georg of
Brunswick-Liineburg. He held various important
public offices in Hanover and died in 1680 :
Selig sind, die aus Erbarmen
Sich annehmen fremder Noth,
Sind mitleidig mit den Armen,
Bitten treulich fiir sie Gott.
Die behiilflich sind init Rath,
Auch, so moglich, mit der That,
Werden wieder Hiilf empfangen
Und Barmherzigkeit erlangen.
B.G. vii. 348.
Translations of the Hymn into English are
noted in the Dictionary of Hymnology, p. 287.
Form. Simple (2 FL, 2 Ob., Strings, Continuo).
Choralgesdnge, No. 104.
Cantata XL. Dazu ist erschienen der Sohn
GOTTES^ Feast of St Stephen (Christmas)
{c. 1723)
Melody: " Wir Christenleuf "
Caspar Fuger the younger 1593
^ An English version of the Cantata, " To this end appeared the
Son of God," is published by Breitkopf & Haertel.
CANTATA XL 217
The words and melody of the third movement
are from Caspar Fuger's Christmas Hymn, "Wir
Christenleut'." The melody, which is found in
MS. 1589 associated with the Hymn, may be attri-
buted to Caspar Fuger, the younger', and was
first published in Martin Fritzsch's Gesangbuck.
Darinnen Christliche Psalmen unnd Kirchen Lieder
(Dresden, 1593).
Bach uses the melody also in Cantatas no and
142, and in the " Christmas Oratorio," No. 35.
Organ Works, N. xv. 36 ; xix. 28.
The Hymn, attributed to the elder Caspar Fuger,
was probably written about 1552, and was published
first in Drey schone Newe Geistliche Gesenge (1592).
The words are the third stanza of the Hymn :
Die Siind' macht Leid ;
Christus bringt Freud',
Weil er zu Trost^ in diese Welt gekommen^
Mit uns ist Gott
Nun in der* Noth :
Wer ist, der uns als* Christen kann verdammen ?
B.G. vii. 377.
Translations of the Hymn into English are
noted in the Dictionary of Hymnology, p. 401.
Form. Simple (2 Ob., Corno, Strings, Contintw).
Choralgesange, No. 379.
' See Bach's Chorals, Part I, p. 51. ^ igg'J uns.
•* 1592 ist kommen. * 1592 dieser. ^ 1592 jetzt uns.
2l8
CANTATA XL
Melody: '' Meine Hoffnung stehet feste" Anon. 1680
(^^^^"1
^=p=sf
?
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Melody: '■'■ Bleiches Antlitz, set gegritsset"
Friedrich Funcke 1686
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Melody: ^' Einen guten Kamff half ich" Anon. 1713
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The words and melody of the sixth movement
are from Paul Gerhardt's " Schwing' dich auf zu
CANTATA XL 219
deinem Gott." The Hymn was first published, to
another tune, in Johann Crliger's 1653 (Berlin)
edition of his Praxis Pietatis Melica.
The melody which Bach uses in this movement
is found, in identical form, as No. 144 of the second
Part oi Johann Sebastian Backs vierstimmige Choral-
gesdnge gesammlet von Carl Philipp Emmanuel Bach
(Berlin and Leipzig, 1769). According to the
Choralgesdnge, No. 305, the tune is a slight recon-
struction ("etwas umgebildet") of amelody (Zahn,iv.
No. 62953) published in the second Part of Daniel
Vetter's Musicalische Kirch- und Hauss-Ergotzlich-
keit (Leipzig, 171 3) in association with Heinrich
Albert's (1604-51) "Einen guten Kampf hab' ich."
Bach's and Vetter's forms clearly are related. But
Bach's text is still closer to a melody which
occurs in Joachim Neander's (1650-80) Glaub- und
LiebesUbung (Bremen, 1680), set to his own " Meine
Hoffnung stehet feste." Described by Neander
as a "bekannte Melodie," the apparent original of
it is found in the Liineburgisches Gesangbuck
(Liineburg, 1686), set to Johann Rist's " Bleiches
Antlitz, sei gegriisset." The tune there bears the
initials " F. F.," i.e. Friedrich Funcke, who was
born in 1642, was Cantor of St John's Church,
Liineburg, 1664-94, ^"d died 1699. Bach's melody
therefore must either accept Funcke as its author,
or the two tunes must be held derivatives of an
220
CANTATA XL
original now lost. In any case the ascription of the
tune to Bach is inaccurate.
The melody does not occur elsewhere in Bach's
works.
The words of the sixth movement of the Cantata
are the second stanza of Paul Gerhardt's Hymn :
Schuttle ' deinen Kopf und sprich :
Fleuch, du alte Schlange !
Was erneurst du deinen Stich,
Machst mir angst und bange?
1st dir doch der Kopf zerknickt,
Und ich bin durch's Leiden
Meines Heilands dir entriickt^
In den Saal der Freuden. B.G. vii. 387.
Form. Simple (Como, 2 Ob., Strings, Continud).
Choralgesdnge, No. 305.
Melody: '■'■ Freuet euch, ihr Christen alle"
? Andreas Hammerschmidt 1646
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1653 entzuckt.
CANTATA XL 221
The words of the concluding Choral are from
Christian Keimann's Christmas Hymn, "Freuet
euch, ihr Christen alle," published, with the tune, in
Part IV of Andreas Hammerschmidt's Musicalischer
Andachten Geistlicher Moteten undt Concerten
(Freiberg, 1646).
Andreas Hammerschmidt, the composer (?) of
the melody, was born at Briix in Bohemia in 161 2.
He received his musical education from Stephen
Otto, Cantor at Schandau, and in 1635 became
Organist of St Peter's Church, Freiberg (Saxony).
From thence he went (1639) to Zittau as Organist
of St John's Church, and died there in 1675.
Bach has not used the melody elsewhere.
The words of the concluding Choral are the
fourth stanza of Keimann's Hymn. Keimann was
born in 1607 at Pankratz in Bohemia. In 1634 he
was appointed Co-rector, and in 1638 Rector, of
the Gymnasium at Zittau. He died in 1662. The
Hymn is said to have been written at Christmas
1645. The fourth stanza may refer to the opening
of the Peace Congresses at Miinster and Osnabriick
which concluded the Thirty Years' War :
Jesu, nimm dich deiner Glieder
Ferner in Genaden an;
Schenke, was man bitten kann,
Zu erquicken deine Brijder ;
222
CANTATA XLI
Gieb der ganzen Christenschaar
Frieden und ein sel'ges Jahr !
Freude, Freude iiber Freude !
Christus wehret allem Leide. '
Wonne, Wonne iiber Wonne :
Er ist die Genadensonne. B.C. vii. 394.
An English translation of the Hymn is noted in
the Dictionary of Hymnology, p. 614.
Form. Simple {Corno, 2 Ob., Strings, Continuo\
Choralgesdnge, No. 105.
Cantata XLI. Jesu, nun sei gepreiset'.
Feast of the Circumcision (New Year's Day)
{c. 1740)
Melody: '■'■Jesu, nun set gepreiset" Anon. 1591
1 An English version of the Cantata, "Jesus, now will we
praise Thee," is published by Novello & Co.
CANTATA XLI 223
A Choral Cantata, on Johann Hermann's New
Year's Hymn, "Jesu, nun sei gepreiset." Words
and melody were published together in the Witten-
berg collection of Christmas Hymns, Cantilenae
latinae et germanicae .. .Lateinische und Deutsche
Weinacht Lieder (Wittenberg, 1591).
Of the author nothing positive is known. It is
conjectured that he was a Lutheran theologian
resident at Wittenberg 1548-63.
The melody, which Bach uses in the first and
last movements, occurs also in Cantatas 171 and
190. In all three cases he introduces an important
modification of the original tune by concluding
with the opening phrases of the Hymn. There
is another version of the melody in the Choral-
gesdnge, No. 203, which is closer to the 1591 text.
{a)
The words of the opening movement are the
first stanza of Hermann's Hymn ;
Jesu, nun sei gepreiset
Zu diesem neuen JahH,
Fiir dein' Gut', uns beweiset
In aller Noth und Gefahr,
Dass wir haben erlebet
Die neu', frohliche Zeit,
Die voller Gnade schwebet
Und ew'ger Seeligkeit ;
Dass wir in guter Stille
Das alt' Jahr hab'n erfuUet,
224 CANTATA XLI
Wir woU'n uns dir ergeben
Jetzund und immerdar,
Behut" Leib, Seel" und Leben
Hinfort durch's^ ganze Jahr !^ B.G. x. 3.
Form. Choral Fantasia (3 Trombe, Timpani,
3 Ob., Strings, Organ, Continuo)*.
(^)
The words of the concluding Choral are the
third stanza of Hermann's Hymn :
Dein ist allein die Ehre,
Dein ist allein der Ruhm ;
Geduld im Kreuz uns lehre,
Regier* all' unser Thun,
Bis wir frohlich* abscheiden
In's ewig' Himmelreich",
Zu wahrem Fried' und Freude,
Den Heil'gen Gottes gleich.
Indess mach's mit uns Allen
Nach deinem Wohlgefallen :
Solch's singet heut ohn' Scherzen
Die christglaubige Schaar,
Und wiinscht mit Mund und Herzeii
Ein selig's neues Jahr. B.G. x. 58.
Form. Extended (3 Trombe, Timpani, 3 Ob.,
Strings, Organ, Continuo). Ckoralgesdnge, No. 204.
' 1593 Behiit uns Leib. ^ 1593 das.
^ Wackernagel, v. 195, prints from a text of 1593.
' See Spitta, in. 101, on the hybrid form of the movement.
' 1593 getrost. " :593 Vaters Reich.
CANTATA XLII 22$
Cantata XLII. Am Abend aber desselbigen
Sabbaths. First Sunday after Easter (" Quasi-
modo geniti ") {c. 1 73 1 ")
{a)
The words of the fourth movement are the first
stanza of Johann Michael Altenburg's " Verzage
nicht, du Hauflein klein," first published (to no
specified tune) as a broadsheet c. 1632 (Leipzig),
and later in Anddchtige Hertz- und Seelen-Musica
(Nordhausen, c. 1635). The Hymn is also attri-
buted, on doubtful evidence, to Gustavus Adolphus
of Sweden.
Altenburg was born at Alach, near Erfurt, in
1584. In 1608 he was appointed pastor of Ilvers-
gehofen, near Erfurt, and later to other charges
near the city. Forced by the war to seek refuge in
Erfurt in 163 1, he composed the Hymn "Verzage
nicht '' there. The rest of his life was passed in
Erfurt, where he died in 1640. He was a good
musician and in early life was Cantor of St
Andrew's Church, Erfurt. A number of hymn
melodies by him are known :
Verzage nicht, O^ Hauflein klein,
Obgleich^ die Feinde willens sein,
Dich ganzlich zu verstoren,
Und suchen deinen Untergang,
Davon dir wird rechst* angst und bang :
Es wird nicht lange' wahren. B.G. x. 82.
1 See Wustmann, p. 281. ^ c. 1632 du.
' c. 1632 Ob schon. ■* c. 1632 gantz. ^ c. 1632 langmehr.
T. B. C. 15
226
CANTATA XLII
Translations of the Hymn into English are
noted in the Dictianary of Hymndogy, pp. 5S, 1721-
Form. A Soprano and Tenor Duetto {Fagotto,
Violoncello, Organ, Contmuo). Though marked
"Choral," Bach does not use the Hymn melody.
Melody: " VerleiK uns Frieden gnddiglich" Anon. 1535
(1) I53I-
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Anon. 1566
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Ehr - .bar - keit,
CANTATA XLII 227
The melody of the last movement is that of
Luther's "Verleih' uns Frieden gnadiglich," pub-
lished, with the Hymn, m. Kirche gesenge, mit vii
schonen Psalmen unnd Melodey (Nurnberg, 1531),
and in Joseph Klug's Geistliche Lieder (Wittenberg,
1535 [1529]). The musical texts are nearly iden-
tical, Bach's version conforming rather to the latter.
The tune bears relationship to that of Luther's
" Erhalt' uns, Herr " (see Cantata 6) : both derive
from the melody of the Antiphon, " Da pacem,
Domine." The melody occurs also in Cantata 126.
There is late sixteenth century authority for the
F sharp at the fourth note {supra), which Bach
adopts. But his variation of the second line is not
indicated by Zahn as occurring earlier.
The melody of the additional stanza, "Gieb
unsern Fursten," was first published, with the Hymn,
in Das christlich Kinderlied D. Martini Lutheri
(Wittenberg, 1566). The melody occurs also in
Cantata 1 26. The " Amen " which Bach uses is
found in association with the melody in 1573.
The words of the concluding Choral are the
first stanza of Luther's "Verleih' uns Frieden
gnadiglich," a translation of the Antiphon, " Da
pacem, Domine." It appeared first in prose in
1527 and in metrical form in Klug's Geistliche
Lieder {supra). The additional stanza, "Gieb
15—3
228 CANTATA XLIII
unsern Fursten," founded on i Timothy ii. i, 2,
was attached to the Hymn in 1566 (supra):
Verleih' uns Frieden gnadiglich,
Herr Gott, zu unsern Zeiten,
Es ist ja doch' kein Andrer nicht,
Der fiir uns konnte streiten,
Den du uns'r Gott alleine.
Gieb unsern Fursten und der^ Obrigkeit
Fried' und gut Regiment,
Dass wir unter ihnen
Ein geruhig^ und stilles Leben fiihren mogen
In aller Gottseligkeit und Ehrbarkeit, Amen !
B.G. X. 91.
Translations of the Hymn into English are
noted in the Dictionary of Hymnology, p. 276.
Form. Simple (2 Ob., Fagotto, Strings, Organ,
Continuo). Choralgesdnge, No. 322.
Cantata XLHI. Gott fahret auf mit
JaucHZEN*. Ascension Day (1735)
For the melody of the concluding Choral,
Johann Schop's " Ermuntre dich, mein schwacher
Geist," see Cantata 11.
The words are the first and thirteenth stanzas
of Johann Rist's Ascension Hymn, " Du Lebens-
fiirst, Herr Jesu Christ" (see Cantata 11):
' 1535 denn. '■' 1566 aller. ' ijgg geruhlich.
* An English version of the Cantata, "God goeth up with
shouting," is published by Novello & Co.
CANTATA XLIV 229
Du Lebensfiirst, Herr Jesu Christ,
Der du bist aufgenoirfmen
Gen Himmel, da dein Vatef ist
Und die Gemein' der Frommen :
Wie soil ich deinen grossen Sieg,
Den du durch einen' schweren Krieg
Erworben hast, recht preisen,
Und dir g'nug Ehr' erweisen?
Zieh' uns dir nach, so laufen wir,
Gieb uns des Glaubens Fliigel !
Hilf, dass wir fliehen weit von hier
Auf Israelis Hiigel.
Mein Gott ! wann fahr" ich doch dahin,
Woselbst ich ewig'' frohlich bin?
Wann werd' ich vor dir stehen,
Dein Angesicht zu sehen ?
B.G. X. 126.
Form. Simple (3 Trombe, 2 Ob., Strings, Con-
tinud). Choralgesange, No. 81.
Cantata XLIV. Sie werden euch in den
Bann thun". Sixth Sunday after Easter
("Exaudi")* (c. 1725)
id)
For the melody of the fourth movement, " Ach
Gott, wie manches Herzeleid," see Cantata 3.
' 1641 Den du uns durch den.
2 1 641 Wo ich ohn' Ende.
* An English version of the Cantata, "You will they put under
ban," is published by Breitkopf & Haertel.
* The Sunday is the First after Ascension Day.
230 CANTATA XLIV
The words are part^ of the first stanza of Martin
Moller's (?) "Ach Gott, wie manches Herzeleid"
(see Cantata 3):
Ach Gott, wie manches Herzeleid
Begegnet mir zu dieser Zeit !
Der schmale Weg ist triibsalvoU,
Den ich zum Himmel wandern soil.
B.G. X. 143.
Form. Tenor Unison Choral {Fagotto, Con-
tinuo).
For the melody of the concluding Choral,
Heinrich Isaak's "O Welt, ich muss dich lassen,"
see Cantata 13. The words are the fifteenth
stanza of Paul Flemming's "In alien meinen
Thaten" (see Cantata 13):
So sei nun, Seele, deine,
Und traue dem alleine,
Der dich erschaffen^ hat.
Es gehe, wie es gehe :
Dein Vater in der Hohe
Der weiss zu alien Sachen Rath^.
B.G. X. 150.
Form. Simple (2 Ob., Fagotto, Strings, Con-
tinuo). Choralgesdnge, No. 296.
' 1642 geschaffen.
" 1642 Weiss alien Sachen Raht. Bach's last line appears in a
recension of the Hymn dated 1670.
CANTATA XLV
231
Cantata XLV. Es ist dir gesagt, Mensch,
WAS GUT IST. Eighth Sunday after Trinity
(c. 1740)
Melody: "Die Wollust dieser Welt" Anon. 1679
/.ItnJVjM.JJ'^
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The melody of the concluding Choral is
generally associated with Johann Heermann's "O
Gott, du frommer Gott," but is not to be confused
with the melody of 1693 (see Cantata 24). The
tune, whose source is not known, appears first
in Ahashuerus Fritsch's Himmels-Lust und Welt-
Unlust (Jena, 1679), '" association with Johann
Jakob Schutz' (1640-90) "Die Wollust dieser Welt"
(published in 1675). A reconstruction of the
melody is found in the Darmstadt Geistreiches
Gesang-Buch (Darmstadt, 1698), which Bach follows
more closely.
232 CANTATA XLV
The melody is used also in Cantatas 64, 94,
128, 129, and in the unfinished Cantata U i, " Ehre
sei Gott in der Hohe." The Choralvariationen or
Partite (N. xix. 44) upon the melody, "O Gott,
du frommer Gott," treat another tune, originally
" Gross ist, O grosser Gott," published in the
Hanover New Ordentlich Gesang-Buch (Hanover,
1646). Bach's version of "Die Wollust" is founded
upon a reconstruction of the tune in 1698. His
modifications of lines 4-6 appear to be original.
The words of the concluding Choral are the
second stanza of Heermann's " O Gott, du frommer
Gott " (see Cantata 24) :
Gieb, dass ich thu' mit Fleiss,
Was mir zu thun gebiihret,
Wozu mich dein Befehl
In meinem Stande fiihret.
Gieb, dass ich's thue bald,
Zu der Zeit, da ich soil ;
Und wenn ich's thu', so gieb,
Dass es gerathe wohl.
B.C. X. i86.
Form. Simple (2 FL, 2 Ob., Strings, Continuo).
Choralgesdnge, No. 278.
CAJSTATA XLVI
233
Cantata XLVI. Schauet doch und sehet.
Tenth Sunday after Trinity (c. 1725)
Melody: "O grosser Gott von Macki"
? Melchior Franck 1632
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The melody and words of the concluding Choral
are from Balthasar Schnurr's (1572-1 644) " O grosser
Gott von Macht," published together as a broad-
sheet, entitled Ein Anddchtiges Buss-Lied, Aus der
Vorbitt Abrahams fur die Sodomiter (Leipzig, 1632).
The Cantionale sacrum (Gotha, Part II, 1648) con-
tains a harmonisation of the melody by Melchior
Franck. As that work includes thirty tunes har-
monised by him, it may be conjectured that he was
the composer of the melody, " O grosser Gott."
Melchior Franck was born at Zittau, c. 1573-80.
In 1601 he was Town "Musiker" at Niirnberg,
.and two or three years later became Capellmeister
at Coburg. He died there in 1639.
234 CANTATA XLVl
The Hielody, which Bach does not use elsewhere,
is not in the Choralgesdnge. There does not appear
to be earlier sanction for Bach's treatment of the
fourth and sixth lines of the tune.
The words of the concluding Choral are the
ninth stanza of the Hymn, an addendum to the
original broadsheet of 1632, first published in
Jeremias Weber's Gesangbuch (Leipzig, 1638). Its
authorship is attributed by Erk' and Spitta*" to
Johann Matthaus Meyfart ( 1 590- 1 642). I n Weber's
Hynln book, however, it bears the unidentified
initials, "M. J. W.":
O grosser Gott der' Treii',
Weil vor dir Niemand gilt
AIs dein Sohn Jesus Christ,
Der deinen Zorn gestillt :
So sieh' doch an die Wunden sein,
Sein' Matter; Angst und schwere Pein.
Um seinet-willen schone, '
Und nicht nach Sunden lohne.
B.G. X. 236.
Form. Extended ( Tromba or Como da Tirarsi*,
2 Fl. (a due), Strings, Continue). Erk, No. 280.
1 Vol. 11. p. 125, No. 280.
"- Vol. II. p. 428. 3 1638 von.
■* Both instruments are said to have been a combination of
Tromba and Trombone.
CANTATA XLVli
235
Cantata XLVII. Wer sich selbst erMohet,
DER SOLL ERNIEDRIGET WERDEN. Seven-
teenth Sunday after Trinity (c. 1720)
Melody: " Warum betriibst du dick, mein Hers"
Anon. 1565
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The words and melody of the concluding Choral
are those of the Hymn "Warum betriibst du dich,
mein Herz." The melody is found in association
with the Hymn in a MS. (1565) of Bartholomaus
Monoetius of Crailsheim, among the "cantiones
quae pro ratione temporis turn in schola tum etiam
in ecclesia Creilsheimensi solent cantari." In B.C.
xxxiii. p. 28 it is conjectured that the tune descends
from the old Meistersinger.
The melody occurs also in Cantata 138 and in
Johann Christian Bach's Motett, "Ich lasse dich
nicht." There are other harmonisations of the tune
236 CANTATA XLVII
in the Choralgesdnge, Nos. 331, 332. Bach's modi-
fication of the concluding phrase is found in
1588.
The words of the concluding Choral are the
eleventh stanza of the Hymn, whose authorship
has been attributed, apparently without foundation,
to Hans Sachs (1494-1576)^ It occurs in Zwey
schone newe geistliche Lieder (Niirnberg, c. 1560)
and is said to lae found in a Polish Hymn book
edited by Pastor Seklucyan at Konigsberg in
1559:
Der zeitlichen Ehr' will ich gem entbehr'n,
Du woU'st mir^ nur das EVge gewahr'n,
Das du erworben hast
Durch deinen herben, bittern Tod.
Das bitt" ich dich, mein Herr und Gott !
B.G. X. 274.
Translations of the Hymn into English are
noted in the Dictionary of Hymnology, pp. 1234,
1724.
Form. Simple (2 Ob., Strings, Contintw).
Choralgesdnge, No. 333.
' Wackernagel, iv. 128, prints the text under Georg Aemilius
Oemler.
" c. 1560 mich.
CANTATA XLVIII
237
Cantata XLVIII. Ich elender Mensch,
WER WIRD MICH ERLOSEN. Nineteenth
Sunday after Trinity {c. 1740)
Melody: "AcA Gott und Herr" Anon. 1625
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The words and melody of the third movement
are those of the Lenten Hymn, " Ach Gott und
Herr, Wie gross und schwer," first published to-
gether in As hymnodus sacer (Leipzig, 1625). A
reconstruction of the melody, in a major key', which
Bach follows, first appeared in Christoph Peter's
(" Sangmeister" at Guben) Andachts Zymbeln Oder
anddchtige und geistreiche...Lieder {Freiherg, 1655).
' Closely follows Criiger's version of the minor.
238 CANTATA XLVIII
There is another harmonisation of the tune in
Choralgesdnge, No. 3. Organ Works, N. xviii. i, 2, 3.
The words of the concluding Choral are the
fourth stanza of the Hymn. The stanza was first
published at Jena (broadsheet) in a sermon by
Dr Johann Major (or Gross) in 161 3. In a second
edition of the broadsheet, printed at Erfurt in the
same year, six stanzas of the Hymn were included.
Its authorship is attributed to Johann Major (1564-
1654), a Professor at Jena University, 161 1-54, and
to Martin Rutilius (1550-1618), deacon and arch-
deacon at Weimar, 1 586-1618. It is placed by
Fischer-Tiimpel' among the " Lieder von unbe-
kannten Verfassern "^ :
Soli's ja so sein,
Dass StraP und Pein
Auf Siinden folgen miissen :
So fahr" hier fort
Und schone dort,
Und lass mich hier^ wohl biissen.
B.G. X. 288.
Translations of the Hymn into English are
noted in the Dictionary of Hymnology, p. 983.
Form. Simple ( Tromba, 2 Ob., Strings, Continue).
Choralgesdnge, No. 4.
' Vol. I. No. 52.
2 See the Dictionmy of Hymnology, p. 982.
^ 1613 ja.
CANTATA XLVIII
Melody: " Herr Jesu Christ, du hbchstes Gut"
239
Anon. 1593
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The words and melody of the concluding Choral
are those of the " Kreuz- und Trostlied," " Herr
Jesu Christ, ich schrei zu dir," though the melody
is more familiar in association with Bartholomaus
Ringwaldt's Lenten Hymn, " Herr Jesu Christ, du
hochstes Gut." It was published, to another Hymn,
in the Dresden Gesangbuch of 1593. In Christopher
Demantius' Threnodiae (Freiberg, 1620) it occurs in
association with "Herr Jesu Christ, ich schrei zu
dir." The melody is the Tenor (slightly altered) of
a four-part setting of " Wenn mein Stundlein vor-
handen ist.'' Its derivation from the latter is patent
(see Cantata 15).
The melody occurs also in Cantatas 113, 131,
166, 168. There is another harmonisation of it in
the Choralgesdnge, No. 141.
240 CANTATA XLIX
The words of the concluding Choral are the
twelfth stanza of the Hymn " Herr Jesu Christ,
ich schrei zu dir," whose author is not identified.
Hymn and melody appear together in Demantius'
Threnodiae {supra) :
Herr Jesu Christ, einiger Trost,
Zu dir will ich mich wenden ;
Mein Herzleid ist dir wohl bewusst,
Du kannst und wirst es enden.
In deinen Willen sei's gestellt,
Mach's, lieber' Gott, wie dir's gefallt :
Dein bin und will ich bleiben. B.G. x. 298.
Form. Simple {Tromba, 2 Ob., Strings, Con-
tinud). Ckoralgesdnge, No. 144.
In the opening movement Bach introduces the
melody in canon in the accompaniment {Tromba,
Oboi).
Cantata XLIX. Ich geh' und suche mit
Verlangen. Twentieth Sunday after Trinity
{c. 173 0
The melody and words of the concluding Choral
are from Philipp Nicolai's " Wie schon leuchtet der
Morgenstern" (see Cantata i).
The words are the seventh stanza of the Hymn :
Wie bin ich doch so herzlich froh,
Dass mein Schatz ist das A und O,
Der Anfang und das Ende.
Er wird mich doch zu seinem Preis
Aufnehmen in das Paradeis ;
' 1620 liebster.
CANTATA LI 24 1
Dess klopf ich in die Hande !
Amen, Amen !
Komm, du schone Freudenkrone,
Bleib' nicht lange !
Deiner wart' ich mit Verlangen.
E.G. X. 330.
Form. Dialogus for Soprano and Bass, the
Soprano having the cantus {Oboe d' amove. Strings,
Organ, Continuo)\ It is marked " Duetto."
Cantata LI. Jauchzet Gott in allen
Landen. Fifteenth Sunday after Trinity-'
(1731 or i;32)
The words and melody of the fourth movement
are from Johann Graumann's "Nun lob', mein'
Seel', den Herren" (see Cantata 17).
The words are the fifth stanza of the Hymn :
* Sei Lob und Preis mit Ehren
Gott Vater, Sohn, heiligem Geist !
Der well' in uns verroehren,
Was er uns aus Gnaden verheisst,
Dass wir ihm fest vertrauen,
Ganzlich verlass'n auf ihn,
Von Herzen auf ihn bauen,
Dass uns'r Herz, Muth und Sinn
1 Into this Cantata Bach incorporates the last movement of the
Clavier Concerto in E major. See also Nos. no, 146, 169, 174, 188.
2 Also for general use. Spitta, II. 473, suggests a later revision of
the text by Bach with a view to using the Cantata for Michaelmas
Day '737' when that Festival and the Fifteenth Sunday after Trinity
coincided.
T. B. C, 16
242
CANTATA LII
Ihm festiglich anhangen ;
Drauf singen wir zur Stund' :
Amen ! wir werd'ns erlangen,
Glaub'n wir aus Herzens Grund.
B.C. xii. (ii) I4-
Form. Soprano Unison Choral ( Violino I and
II Soli, Continuo).
Cantata LII. Falsche Welt, dir trau ich
NICHT. Twenty-third Sunday after Trinity
{c. 1730)
Melody : " In dich haV ich gehoffet, Herr "
Seth Calvisius 1581
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The melody, " In dich hab' ich gehoffet, Herr,"
which Bach uses in the concluding Choral of the
Cantata, was composed by Seth Calvisius or Kall-
witz (1556-1615), a predecessor of feach as Cantor
of St Thomas' Church, Leipzig. It was published,
along with the Hymn, in Gregorius Sunderreitter's
Himli^che Harpffe Davids (Niirnberg, 1581).
CANTATA LII 243
The melody occurs elsewhere in Cantata 106,
in the "St Matthew Passion," No. 38, and in the
" Christmas Oratorio," No. 46. Organ Works, N.
xviii. 59. In Johann Hermann Schein's Cantional
(Leipzig, 1627) it appears in a form very similar to
that in which Bach employs it. In the Orgel-
biichlein (N. xv. 113) the melody called " In dich
hab' ich gehoffet" is not by Calvisius, but is an
Easter Hymn tune dating at least from the fifteenth
century.
The words of the concluding Choral are the
first stanza of Adam Reissner's, or Reusner's, Hymn
(based on Psalm xxxi), " In dich hab' ich gehoffet,
Herr," first publfshed in Form und Ordnung Gayst-
Ikher Gesang und Psalmen (Augsburg, 1533) :
In dich hab' ich gehoifet, Herr,
Hilf, dass ich nicht zu Schanden werd',
Noch ewiglich zu Spotte.
Dass bitt' ich dich,
Erhalte mich
In deiner Treu', Herr Gotte'.
B.G. xii. (ii) 50.
Translations of the Hymn into English are
noted in the Dictionary of Hymnology, p. 955.
Form. Embellished (2 Cor., 3 Ob., Fagotto,
Strings, Organ, Continue'). Choralgesdnge, No. 212^-
1 1533 mein Gotte.
'' The Introduction to the Cantata is the opening movement of
the first Brandenburg Concerto.
16 — 2
244
CANTATA LV
Cantata LV. Ich armer Mensch, ich Sun-
DENKNECHT. Twenty-second Sunday after
Trinity (1731 or 1732)
Melody: " Werde mttnter, mein Gemuthe"
Johann Schop 1642
The melody of the concluding Choral is Johann
Schop's "Werde munter, mein Gemuthe," first
published, with the Hymn, in Part III of Johann
Rist's Himlischer Lieder init Melodeien (Liineburg,
1642).
The melody occurs also in Cantatas 146, 147,
154, and in the "St Matthew Passion," No. 48.
There are two harmonisations of it in the Choral-
gesdnge, Nos. 363, 364. Bach's seventh line is found
in Vopelius (1682).
The words of the concluding Choral are the
sixth stanza of Johann Rist's Evening Hymn,
" Werde munter, mein Gemuthe," first published,
CANTATA LVr
245
with the melody, in Part III of his Himlischer
Lieder (supra) :
Bin ich gleich von dir gewichen,
StelP ich mich doch wieder ein ;
Hat uns doch dein Sohn vergUchen
Durch sein' Angst und Todespein.
Ich verleugne nicht die Schuld,
Aber deine Gnad' und Huld
1st viel grosser als die Siinde,
Die ich stets in mir befinde.
B.G. xii. (ii) 86.
English. translations of the Hymn are noted in
the Dictionary of Hymnology, p. 1254.
Form. Simple {Flauto, Oboe, Strings, Continuo).
Ckoralgesdnge, No. 362.
Cantata LVI. Ich will ben Kreuzstab
GERNE TRAGEN' Nineteenth Sunday after
Trinity (1731 or 1732)
Melody: " Du, O schones Weltgebdude"
Johann Criiger 1649
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gladly wander," is published by Breitkopf & Haertel.
246 CANTATA LVI
The melody and words of the concluding Choral
are from Johann Franck's Hymn, " Du, O schones
Weltgebaude." The melody was first published,
with the first stanza only of Franck's Hymn (but
with the first line as, "Du geballtes Weltgebaude"),
in Johann Criiger's Geistliche Kirchen-Melodien
(Leipzig, 1649).
The melody does not appear elsewhere in the
Cantatas or Oratorios. Another harmonisation of
it is in the Choralgesdnge, No. 71.
The words of the concluding Choral are the
sixth stanza of Franck's Hymn. The complete
text of it was first published, along with the melody,
in Christoph Runge's edition of Criiger's Praxis
Pietatis Melica (Berlin, 1653) :
Komm, O Tod, du Schlafes Bruder,
Komm, und fuhre mich nur fort ;
Lose meines Schiffleins Ruder,
Bringe mich an* sichern Port.
Es mag, wer da will,,dich scheuen,
Du kannst mich vielmehr erfreuen ;
Denn durch dich komm' ich hinein^
Zu dem schonsten Jesulein.
B.G. xii. (ii) 104.
Translations of the Hymn into English are
noted in the Dictionary of Hyvtnology, p. 387.
Form. Simple (2 Ob., Tattle^, Strings, Continuo).
Choralgesdnge, No. 72.
' 1653 in. 2 jgjj herein.
'' The Taille was a Tenor Bassoon.
CANTATA LVII
247
Cantata LVII. Selig ist der Mann. Feast
of St Stephen (Christmas) {c. 1740)
Melody: "Hast du denn, Liebster, dein Angesicht"
Anon. 1665
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The melody of the concluding Choral is
generally associated with Joachim Neander's
Thanksgiving Hymn, " Lobe den Herren, den
machtigen Konig der Ehren," and was appropriated
for it by him in his Glaub- und Liebesiibung (Bremen,
1680). The tune originally appeared in Part II of
the Stralsund Ernewertes Gesangbuch, Darinnen
408 Geistreiche Psalmen und Lieder (Stralsund,
1665), set to " Hast du denn, Liebster, dein Ange-
sicht gantzlich verborgen," upon which Ahashuerus
Fritsch modelled his Hymn {infra). Zahn suggests
a secular origin for the tune.
There is early eighteenth century authority for
Bach's treatment of the second part of the tune.
248 CANTATA LVII
The melody occurs also in Cantata 137 and in
the unfinished Cantata U 3, " Herr Gott, Beherr-
scher aller Dinge." Organ Worjis, N. xvi. 14
("Kommst du nun, Jesu, vom Himmel herunter").
Bach's treatment of bars i and 2 after the middle
double-bar is not uniform. In the two following
bars (3 and 4) his melody is invariable and is found
in 1708.
The words of the concluding Choral are the sixth
stanza of Ahashuerus Fritsch's Hymn-dialogue
between Christ and the Soul, " Hast du denn, Jesu,
dein Angesicht gantzlich verborgen." The Hymn,
based upon an earlier model {supra), was first
published (without the melody) in Fritsch's Zwey
und Siebenzig neue Himmel-susse Jesus- Lieder (Jena,
1668).
Fritsch was born at Miicheln, near Merseburg,
in 1629. He became Chancellor and President
of the Consistory at Rudolstadt, and died there
in 1701 :
Richte dich, Liebste, nach meinem Gefallen und glaube,
Dass ich dein Seelenfreund immer und ewig verbleibe,
Der dich ergotzt
Und in den Himmel versetzt
Aus dam gemarterten Leibe. B.G. xii. (ii) 132.
Form. Simple (2 Ob., Taille^, Strings, Organ,
Continuo). Choralgesdnge, No. 231.
' The Taille was a Tenor Bassoon.
CANTATA LVIII 249
Cantata LVIII. Ach Gott, wie manches
Herzeleid. Sunday after the Circumcision
(1733)
{a)
The melody of the opening movement is that of
Martin Moller's (?) Hymn, " Ach Gott, wie manches
Herzeleid" (see Cantata 3). The words of the
Choral are part of the first stanza of the Hymn :
Ach Gott, wie manches Herzeleid
Begegnet mir zu dieser Zeit !
Der schmale Weg ist triibsalsvoU,
Den ich zum Himmel wandern soil.
B.G. xii. (ii) 135.
Form. A Dialogus between Soprano and Bass,
the Soprano having the melody (2 Ob., Taille,
Strings, Continuo).
{b)
For the melody of the fifth movement, " Ach
Gott, wie manches Herzeleid," or " Herr Jesu Christ,
mein's Lebens Licht," see Cantata 3.
The words of the Choral are the second stanza
of Martin Behm's funerary Hymn, " O [Herr] Jesu
Christ, mein's Lebens Licht," first published in a
collection entitled Chris tlicke Gebet (1610), and
thence in his Zehen Sterbegebet Reimweise zuge-
richtet {V<!ittenh&rg, 161 1).
250
CANTATA LIX
Behm was born at Lauban, in Silesia, in 1557-
He was assistant in the Town school, deacon, and
eventually chief pastor there. He died in 1622.
He was one of the best and most prolific hymn
writers of his period :
Ich hab' vor inir ein' schwere Reis'
Zu dir in's Himmels Paradeis ;
Da ist mein rechtes Vaterland,
Daran' du dein Blut hast^ gewandt.
B.G. xii. (ii) 146.
Translations of the Hymn into English are
noted in the Dictionary of Hymnology, p. 1 27.
Form. A Dialogus between Soprano and Bass,
the Soprano having the melody (2 Ob., Taille,
Strings, Continuo).
Cantata LIX. Wer mich liebet, der wird
MEIN Wort halten. Whit Sunday (1716)
Melody: '■'■Komm, heiliger Geist, Herre Gott"
Anon. IS3S
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CANTATA LIX
251
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The melody and words of the penultimate
movement are from Luther's Whitsuntide Hymn,
"Komm, heiliger Geist, Herre Gott," an expansion
of the Latin Antiphon, "Veni Sancte Spiritus."
The Hymn was first published, with the melody,
in Walther's Geystliche gesangk Buchleyn (Witten-
berg, 1524), and in both editions of the Erfurt
Enchiridion (1524). An earlier form of the melody
{supra) appears, with the Hymn, in Klug's Geist-
licke Lieder {V^ittevhetg, 1535 [1529]).
252 CANTATA LX
The melody is found also in Cantata 175 and,
in a free form, in Cantata 172. It occurs also in
Motett 2, " Der Geist hilft unsrer Schwachheit auf."
Organ Works, N. xvii. i, 10.
The words of the Choral are the first stanza of
Luther's Hymn:
Komm, heiliger Geist, Herre Gott,
Erfiill' mit deiner Gnaden Gut
Deiner Glaubigen Herz, Muth und Sinn !
Dein' briinstig' Lieb' entzund' in ihn'n !
O Herr, durch deines Lichtes Glanz'
Zu dem Glauben versatnmelt hast
Das Volk aus aller Welt Zungen ;
Das sie dir, Herr, zu Lob' gesungen.
AUeluja ! AUeluja !
B.G. xii. (ii) 164.
English translations of the Hymn are noted in
the Dictionary of Hymnology, p. 631.
Form. Embellished {Strings, Continuo). Choral-
gesdnge. No. 220.
Cantata LX. O Ewigkeit, du Donnerwort.
Twenty-fourth Sunday after Trinity (1732)
(«)
The melody of the opening movement is
Johann Schop's "Wach auf, mein Geist," recon-
structed by Johann Criiger for Rist's Hymn, "O
Ewigkeit, du Donnerwort" (see Cantata 20).
1 1524 glast.
CANTATA LX
253
The words of the Choral are the first stanza of
Rist's Hymn :
O Ewigkeit, du Donnerwort,
O Schwert, das durch die Seele bohrt,
O Anfang sonder Ende !
O Ewigkeit, Zeit ohne Zeit,
Ich weiss vor grosser Traurigkeit
Nicht, wo ich mich hinwende^ ;
Mein ganz erschrock'nes Herze bebt^,
Dass mir die Zung' am Gaumen klebt.
B.G. xii. (ii) 171.
Form. A Dialogus between Alto and Tenor,
the Alto having the melody {Corno, 2 Ob. d'amore,
Strings, Continuo).
Melody: '■'■ Es ist genug"
Johann Rodolph Able 1662
The melody of the concluding Choral is Johann
Rodolph Ahle's setting of Burmeister's "Es ist
genug ; so nimm, Herr, meinen Geist." The tune
was first published, with the Hymn, in Part HI
(1662) of Ahle's Neuer Geistlicher Arien, So mit i,
2, 3, Oder 4, Stimmen (Miihlhausen, 1660-64).
1 t64'2 hin mich wende. ^ 1642 Hertz erhebt.
254 CANTATA LX
Able, born at Miihlhausen in 1625, was Organist
of the Blasiuskirche and Burgomaster there. He
died in 1673. He was a very prolific composer of
" geistliche Arien," and collaborated especially with
Burmeister.
The melody does not occur elsewhere in the
Cantatas or Oratorios.
The words of the concluding Choral are the fifth
stanza of Franz Joachim Burmeister's "Es ist
genug," which was published, with the melody, in
1662 {supra).
Burmeister was born, probably in 1633, at
Liineburg. He was appointed Deacon of St
Michael's Church there in 1670 and held the post
until his death irt 1672. He was a friend of Johann
Rist, who admitted him to his Order of Elbe
Swans in 1660 :
Es ist genug : Herr, wenn es dir gefallt,
So spanne mich doch aus.
Mein Jesus kommt : nun gute Nacht, O Welt !
Ich fahr" in's Himmelshaus ;
Ich fahre sicher hin mit' Frieden,
Mein grosser^ Jammer bleibt damieden.
Es ist genug.
B.G. xii. (ii) 190.
Form. Simple {Corno, 2 Ob. d'amore. Strings,
Continud). Choralgesdnge, No. 91.
1 1662 inn. '^ 1662 feuchter.
CANTATA LXI 255
Cantata LXI. Nun komm, der Heiden
Heilandi. First Sunday in Advent (1714)
(«)
The melody of the opening movement is that
of Luther's Christmas Hymn, " Nun komm, der
Heiden Heiland" (see Cantata 36). The words
are the first stanza of the Hymn :
Nun komm, der Heiden Heiland,
Der Jungfrajien Kind erkannt,
Dess sich wundert alle Welt :
Gott soldi' Geburt ihm bestellt.
B.G. xvi. 3.
Form. A Choral Fantasia in the form of a
French "Ouverture," into whose opening and closing
Grave sections the Choral melody is introduced,
all of the four vocal parts in turn or together
singing the cantus {Fagotto, Strings, Organ, Con-
tinuo^).
The words and melody of the concluding move-
ment are Philipp Nicolai's " Wie schon leuchtet der
' English versions of the Cantata, " Come, Thou blessed Saviour,
come," are published by Breitkopf & Haertel, and by Novello & Co.,
" Come, Redeemer of our race."
■'= See Spitta, iii. loi.
256 CANTATA LXII
Morgenstern " (see Cantata i). The words are
part of the seventh stanza of the Hymn :
Amen, Amen !
Komm du schone Freudenkrone,
Bleib' nicht lange.
Deiner wart' ich mit Verlangen.
B.G. xvi. 17.
Form. Choral Fantasia (fourteen bars) {Fagotto,
Strings, Organ, Continuo).
Cantata LXII. Nun komm, der Heiden
Heiland. First Sunday in Advent (after
1734O
A Choral Cantata, on Luther's Christmas
Hymn, " Nun komm, der Heiden Heiland " (see
Cantata 36).
(«)
The words of the opening movement are the
first stanza of the Hymn :
Nun komm, der Heiden Heiland,
Der Jungfrauen Kind erkannt,
Dess sich wundert alle Welt :
Gott solch' Geburt ihm bestellt.
B.G. xvi. 21.
Form. Choral Fantasia (Corno, 2 Ob., Strings,
Continuo).
' Schweitzer includes the Cantata in the 1728-34 period
(11. 2420.). Wustmann dates it f. 1740.
CANTATA LXIV 257
(^)
The words of the concluding Choral are the
eighth stanza of the Hymn :
Lob sei Gott, dem Vater, g'than^,
Lob sei Gott, sein'm ein'gen Sohn,
Lob sei Gott, dem heil'gen Geist,
Immer und in Ewigkeit. B.G. xvi. 50.
Form. Simple {Corno, 2 Ob., Strings, Continuo).
Choralgesdnge, No. 265.
Cantata LXIV. Sehet, welch' eine Liebe
HAT UNS DER Vater erzeiget. Feast of
St John the Evangelist (Christmas) (.? 1723)
Melody: "Grates nunc omnes reddamus"
Anon. 1524
X-ihj J J J J f Wf-f I'rfj'i'^!^
W^
Melody: '^ Gelobet seist du, Jesu Christ" Anon. 1524
^^^^^^g^^^^
^
-0 1 1^*-^
' 1524 thon.
T, B. C,
17
25 8 CANTATA LXIV
(a)
The melody of the second movement, " Gelobet
seist du, Jesu Christ," was first published, with
Luther's Hymn, in Johann Walther's Geystliche
gesangk Buchleyn (Wittenberg^ 1524). The tune is
a simplification, doubtless by Walther, of the melody
of the Latin Sequence, "Grates nunc omnes
reddamus," the version of which printed above is
found in Thomas Muntzer's Deutsch Euangelisch
Messze (Altstadt, 1524).
The melody occurs also in Cantata 91 and in
the '* Christmas Oratorio," Nos. 7 and 28. A treat-
ment of the melody. Simple in form and unaccom-
panied, is in B.G. xvi. 371 and another will be found
there at p. xv. Another harmonisation of the tune
is in the Choralgesdnge, No. 107. An arrangement
of it by Bach for accompanying the congregation is
in N. xviii. 37. Organ Works, N. xv. 1 5 ; xviii. 38, 39.
The words of the second movement are the
seventh stanza of Luther's Christmas Hymn, an
expansion of the Latin Sequence, " Grates nunc
omnes reddamus," first published as a broadsheet
at Wittenberg in 1524, and, with the melody, in
Walther's Hymn book {supra):
Das hat er AUes uns gethan,
Sein' gross' Lieb' zu zeigen an.
Dess freu' sich alle Christenheit
Und dank' ihm dess in Ewigkeit.
Kyrieleis! B.G. xvi. ijS,
CANTATA LXIV 259
English translations of the Hymn are noted in
the Dictionary of Hymnology, p. 408.
Form. Simple {Cornetto, 3 Trombones, Strings,
Organ, Continuo\ Choralgesdnge, No. 108.
The melody of the fourth movement is the
1679 tune, "O Gott, du frommer Gott," or "Die
Wollust dieser Welt" (see Cantata 45).
Another treatment of the melody, to the same
words, is printed in B.G. xvi. 372 as an Appendix.
It is No. 281 of the Choralgesdnge .
The words of the fourth movement are the first
stanza of Georg Michael Pfefferkorn's Hymn, " Was
frag ich nach der Welt," first published as a broad-
sheet at Altenburg in 1667. It has a distinctive
melody of its own, by Jakob Hintze (1679).
Pfefiferkorn was born at Ifta, near Creuzburg, in
1645. He became a private tutor and master in
the Gymnasium at Altenburg, and, later, tutor to
the children of Duke Ernst of Gotha. He was
appointed in 1682 Superintendent at Grafen-Tonna,
near Gotha, and died there in 1732.
* Was frag ich nach der Welt
Und alien ihren Schatzen,
Wenn ich mich nur an dir,
Mein Jesu, kann ergotzen?
Dich hab' ich einzig mir
Zur Wollust vorgestellt : ,
Du, du bist mein Lust ;
Was frag ich nach der Welt ! B.G. xvi. 120.
17 — 2
26o
CANTATA LXIV
An English translation of the Hymn is noted
in the Dictionary of Hymnology, p. 893.
Form. Embellished {Cometto, 3 Trombones,
Strings, Organ, Continuo). Choralgesange, No. 280.
Melody: ^^/esu, meine Freude"
Johann Criiger 1653
il
^
^ r -H —
ti==f=f
^^^^^
The melody of the concluding Choral is
Johann Criiger's " Jesu, meine Freude," which first
appeared, set to Johann Franck's Hymn, in the
1653 (Berlin) edition of the Praxis Pietatis Melica.
The melody also occurs in Cantatas 81 and 87,
and in Motett 3, " Jesu, meine Freude." There
is another harmonisation of it in the Choralgesange,
No. 195. Bach's treatment of the second line
varies. Only in Cantatas 64 and 87 and the Organ
Preludes does he follow Criiger's text (the C sharp
at the fourth note dates from 1674). In the other
Cantata and the Motett his version of that line,
and also of the penultimate line, appears to be his
own and to have been copied into later Hymn
books. Organ Works, N, xv. 3 1 ; xviii. 64 ; P. v. 112.
CANTATA LXV
261
The words of the concluding Choral are the
fifth stanza of Johann Franck's "Jesu, meine
Freude," first published, with the melody, in 1653
(supra). The Hymn was modelled upon a secular
song, which had appeared in 1641, "Flora meine
Freude ; Meiner Seelenweide " :
Gute Nacht, O Wesen,
Das die Welt erlesen !
Mir gefallst du nicht.
Gute Nacht, ihr Sunden,
Bleibet weit dahinten,
Kommt nicht mehr an's Licht !
Gute Nacht,
Du Stolz und Pracht !
Dir sei ganz, O' Lasterleben,
Gute Nacht gegeben ! B.G. xvi. 132.
Translations of the Hymn into English are
noted in the Dictionary of Hymnology , pp. 591, 1657.
Form. Simple {Cornetto, 3 Trombones, Strings,
Organ, Continuo). Choralgesdnge, No. 200.
Cantata LXV. Sie werden aus Saba Alle
KOMMEN^. Feast of the Epiphany (1724)
Melody: ^^ Puer natus in Bethlehem" Anon. 1543
i
-p-Frp-^
b n ri
E
?2-
^
^
w
^
1&-
fp=^
-^^d^r.
^^f^S
1 1653 du.
^ An English version of the Cantata, " The sages of Sheba," is
published by Novello & Co.
262
CANTATA LXV
Melody : " Ein Kind geborn su Bethlehem "
1553
^bnrrjJJ.JJ^Jdd^^p^^
(a)
The words and melody of the second movement
are those of the Christmas Hymn, " Ein Kind
geborn zu Bethlehem," a translation of the Latin
Hymn, " Puer natus in Bethlehem," which is as old
as the fourteenth century. The earlier melody
occurs in Joseph Klug's Geistliche Lieder su Wittem-
berg. Anno 1543 (Wittenberg, 1543), where it is set
to both the Latin and German words. Another
melody is found in Lucas Lossius' Psalmodia, hoc
est, Cantica sacra veteris ecclesiae selecta (Niirnberg,
1553 [1550]. Bach uses the later melody here.
With alterations the 1 543 tune is that of Luther's
" Vom Himmel kam der Engel Schaar." The 1553
melody is the descant to the 1 543 canto fermo, the
latter becoming the Tenor in early settings.
Neither melody occurs elsewhere in the Cantatas
or Oratorios. Organ Works, N. xv. 13, 22 ("Vom
Himmel kam der Engel Schaar ").
The words of the second movement are the
fourth stanza of the Christmas Hymn, " Ein Kind
CANTATA LXV
263
geborn zu Bethlehem," published, with the melody,
by Joseph Klug in 1 543 {supra) :
Die Kon'ge aus Saba kamen dar.
Gold, Weihrauch, Myrrhen brachten sie dar,
AUeluja, Alleluja !
B.G. xvi. 152.
Translations of the Hymn into English are
noted in the Dictionary of Hymnology, p. 941.
Form. Embellished (2 FL, 2 Ob. da caccia,
Continuo). Ckoralgesdnge, No. 302.
Mehdy: " Was mein Gott will"
Anop. 1572 [1571]
i
H
^
2=5
p5
ZZ
iS> " g*
223
-??-^-g^
i
W ^rjo-
^SS:^
^
^dJcJ^inArj gi's^
i
^eJg?-'^
gr ^°J^J^^
zzSza;
The melody of the concluding Choral, " Was
mein Gott will, das g'scheh' allzeit," is of French
origin, and appears first in Pierre Attaignant's
Trente et quatre chansons musicales (Paris, [1529])
as the melody of a secular song, "II me souffit de
264 CANTATA LXV
tous mes maulx'." It was attached to the Hymn,
"Was mein Gott will," in Joachim Magdeburg's
Christliche und Trostliche Tischgesenge, mit Vier
Stimmen (Erfurt, 1572 [1571]).
The melody occurs also in Cantatas 72, 92, 103,
III, 144, and in the "St Matthew Passion," No.- 31.
Bach follows the Dresden (1597) form.
The words of the concluding Choral are the
tenth stanza of Paul Gerhardt's " Ich hab' in Gottes
Herz und Sinn," first published, to the melody
"Was mein Gott," in the 1647 (Berlin) edition of
Criiger's Praxis Pietatis Melica :
Ei nun, mein Gott, so fall' ich dir
Getrost.in deine Hande.
Nimm mich, und mach' es so^ mit mir
Bis an mein letztes Ende,
Wie du wohl weisst,
Dass meinem Geist
Dadurch sein Weg^ entstehe,
Und deine Ehr'
Je mehr und mehr
Sich in mir* selbst erhohe. B.G. xvi. 166.
Translations of the Hymn into English are
noted in the Dictionary of Hymnology, p. 412.
Form. Simple {Continuo). Choralgesange, No.
346-
' See BacKs Chorals, Part I, p. 11.
^ 1647 du. '■ 1647 and Bach's MS. Nutz. * 1647 ihr.
CANTATA LXVI
26s
Cantata LXVI. Erfreut euch, ihr Herzen.
Easter Monday {c. 1731)
Melody: '^Christ ist erstanden" Anon. 1535
Stanza .i.
Stanza iii^.
i
^
u^ ^JA
Z2I
i
=S=f^
4 — ^
^
1^^
y^-y
^^5
^-#
^^^S:^
^.cJ a
The words and melody of the concluding Choral
are those of the medieval Easter Hymn, " Christ ist
erstanden." They are found together in Joseph
Klug's Geistliche Lieder zu Wittemberg (Witten-
berg, 1535 [1529])- The melody occurs in a
fifteenth century MS. and its earliest printed form
dates from 1513. The words are as old as the
thirteenth century.
The melody does not occur elsewhere in the
Cantatas and Oratorios. There is a harmonisation
of the complete Hymn in the Ckoralgesdnge, No. 36.
Organ Works, N. xv. 83.
1 The melody of stanza ii is identical with that of stanza i.
266 CANTATA LXVII
The words of the Choral are the third stanza of
the Hymn :
AUeluja, Alleluja, AUeluja !
Dess soU'n wir Alle froh sein :
Christus will' unser Trost sein,
Kyrieleis !
B.G. xvi. 214.
Translations of the Hymn into English are
noted in the Dictionary of Hymnology, p. 225.
Form. Simple (C<?«^/««o). Choralgesange,'^o. n .
Cantata LXVH. Halt' im GedAchtniss
Jesum Christ^. First Sunday after Easter
("Quasimodo geniti") {c. 1725)
Melody: " Erschienen ist der herrlich' Tag"
Nicolaus Herman 1560
lnjij,;Jf>^J^JJ^E^JfeJJ
^
i
t=;=±:
^
s^^^^^
S
-!=<-#■
■atzi-.
^^m
w-
1 Orig. schoU.
^ An English version of the Cantata, " Hold in remembrance
Jesus Christ," is published by Breitkopf & Haerlel.
CANTATA LXVII 267
Melody: " Erstanden ist der heiVge Christ" Anon. 1555'
The melody and words of the fourth movement
are those of the Easter Hymn, " Erschienen ist der
herrlich' Tag," of which Nicolaus Herman was both
author and composer. The Hymn and melody were
first published in his Die Sontags Euangelia uber das
gantze Jar (Wittenberg, 1560). Both are remi-
niscent of the Easter Hymn, " Erstanden ist der
heil'ge Christ."
The melody occurs also in Cantata 145. Bach's
third line is found in an early seventeenth century
(1605) text. Organ Works, N. xv. 91.
The words of the Choral are the first stanza of
the Hymn :
Erschienen ist der herrlich' Tag,
D'ran sich Niemand g'nug freuen mag :
Christ, unser Herr, heut' triumphirt,
Air sein' Feind' er gefangen fuhrt.
AUeluja! B.G. xvi. 233.
Translations of the Hymn into English are
noted in the Dictionary of Hymnology, p. 514.
' Ein Schlesich singebUchlein aus GSttlicher schrifft (Breslau,
1555)-
268
CANTATA LXVII
Form, Simple {Corno da tirarsi, Flauto, 2 Ob.
d'amore, Strings, Organ, Continuo). Choralgesange,
No. 83.
Melody: ^^ Du Friedefurst, Herr Jesu Christ"
Bartholomaus Gesius 1601
The words of the concluding Choral are from
Jakob Ebert's Hymn for Peace, " Du Friedefurst,
Herr Jesu Christ."
Ebert was born at Sprottau, in Silesia, in 1549.
He was successively Professor of Hebrew, Ethics,
and Theology in the University of Frankfort a.
Oder, and died there in 1614. The Hymn, with
the melody, was first published in Bartholomaus
Gesius' Geistliche deutsche Lieder (Frankfort a.
Oder, 1 601).
The melody is by Bartholomaus Gesius. He
was born c. 1555 at Mlincheberg, near Frankfort,
and. from 1593 onwards was Cantor at Frankfort.
He died there in 1613 or 1614.
The melody is used also in Cantatas 1 16 and 143.
The last line of Bach's version of the melody is a
variant upon Criiger's text (1649) of the tune.
CANTATA LXVIII 269
The words of the Choral are the first stanza of
the Hymn :
Du Friedefurst, Herr Jesu Christ,
Wahr'r Mensch und wahrer Gott,
Ein starker Nothhelfer du bist
Im Leben und im Tod :
Drum wir allein
Im Namen dein
Zu deinem Vater schreien.
B.G. xvi. 246.
Translations of the Hymn into English are
noted in the Dictionary of Hymnology, p. 319.
Form. Simple {Corno da tirarsi, Flauto, 2 Ob.
d'amore. Strings, Organ, Continuo). Choralgesdnge,
No. 68.
Cantata LXVHI. Also hat Gott die Welt
GeliebtI Whit Monday (? 1735O
Melody: ''Also hat Gott die Welt geliebt"
Gottfried Vopelius 1682
^
EI
_ p
tijrmii
%
t
f=f=^=^^
-■^S^M-
:i=3
' An English version of the Cantata, " God so loved the world,"
is published by Novello & Co.
^ Schweitzer, 11. 263, gives the date as 1731. The Cantata in
part is constructed out of a secular work composed in 17 16. See
Spitta, I. 567.
270
CANTATA LXVIII
f^^^
trm
The words and melody of the opening move-
ment are those of the Hymn, " Also hat Gott die
Welt geliebt."
Its author, Salomo Liscow or Liscovius, was
born at Niemitsch, near Guben, in 1640. After
graduating at Wittenberg, where he was crowned a
poet, he was ordained pastor at Otterwisch in 1664,
and in 1685 was appointed to a similar position at
Wurzen. He died there in 1689. The Hymn was
first published in his Christlichen Frauen-Zimmers
geistliche Tu£-e»d-Spie£-el (Leipzig, 1675).
The melody was composed by Gottfried Vopelius
and was attached to the Hymn in his Neu Leipziger
Gesangduck (Leipzig, 1682 [1681]).
Bach has not used the melody elsewhere. It is
given neither by Erk nor the CkoralgesdngeK
The words of the opening movement are the
first stanza of the Hymn :
Also hat Gott die Welt geliebt, '
Dass er uns seinen Sohn gegeben.
Wer sich im Glauben ihm ergiebt,
Der soil dort ewig bei^ ihm leben.
' Spitta.iii. 114, wronglyregardsitasan original melody by Bach.
2 1675 mit.
CANTATA LXIX
271
Wer glaubt, dass Jesus ihm geboren,
Der bleibet ewig unverloren,
Und ist kein Leid, das den betriibt,
Den Gott und auch sein Jesus liebt.
B.G. xvi. 249.
Form. Choral Fantasia {Como, 2 Ob., Taille\
Strings, Continuo). The treatment of the cantus
is very free.
Cantata LXIX. Lobe den Herrn, meine
Seele. Twelfth Sunday after Trinity^ (? 1724)
Melody: '' JSs -wolV uns Gett getiddig sein" Anon. 1525
rrr^rr'Tcri^^
-s.
i
72-
^-^-^^
pr^j-gr^g
^
I
IF^^^
^
=?^
3S:#3:
(«)
The words and melody of the concluding Choral
are those of Luther's version of Psalm Ixvii, " Es
woir uns Gott genadig sein," published originally
in Luther's Ein weise christlich Mess zuhalte
1 The Taille was a Tenor Bassoon.
2 Also adapted c. 1730 for use as a Rathswahl Cantata, Hence
its festival character.
272 CANTATA LXIX
(Wittenberg, 1524). It is also in Walther's Geyst-
liche gesangk Buchleyn of that year, but is set there
to the melody better known as " Christ unser Herr
zum Jordan kam" (see Cantata 7), Along with
the melody printed above — which Erk, No. 201, ten-
tatively attributes to Matthaus Greitter (d. c. 1550)
— the Hymn was published in the Strassburg
Ordnung des Herren Nachtmal (1525) and in the
Strassburg Kircheampt mit lobgsengen (1525).
The melody occurs also in Cantata "jQ, and
there are other harmonisations of it in the Choral-
gesdnge, Nos. 95, 96.
The words of the Choral are the third stanza of
the Hymn :
Es danke, Gott, und lobe dich
Das Volk in guten Thaten.
Das Land bringt Frucht und bessert sich ;
Dein Wort ist wohl gerathen.
Uns segne Vater und der Sohn,
Uns segne Gott, der heil'ge Geist ;
Dem alle Welt die Ehre thu',
Vor ihm sich fiirchte allermeist,
Und^ sprecht von Herzen: Amen!
B.G. xvi. 325.
Translations of the Hymn into English are
noted in the Dictionary of Hymnology, p. 355.
Form. Embellished (3 Trombe, Timpani, 3 Ob.,
Fagotto, Strings, Continuo). Choralgesdnge, No. 97.
' 1524 Nu.
CANTATA LXX 273
Spitta points out> that about 1730 Bach re-
modelled the Cantata for use at a Rathswahl
service. The Appendix to the Bach-Gesellschaft
volume contains the following additional number.
It is not in the vocal score.
The words are the sixth stanza of Samuel Rodi-
gast's " Was Gott thut, das ist wohlgethan " and the
melody is that of the Hymn (see Cantata 1 2) :
Was Gott thut, das ist wohlgethan,
Dabei will ich verbleiben.
Es mag mich auf die rauhe Bahn
Noth, Tod und Eland treiben :
So wird Gott mich ganz vaterlich
In seinen Armen halten ;
Drum lass' ich ihn nur walten. B.G. xvi. 379.
Form. Embellished {Tromba, 3 Ob., Fagotto,
Strings, Continuo). Erk, No. 301.
Cantata LXX. Wachet, betet. betet,
WACHET^. Twenty-sixth Sunday after Trinity'
(1716)
{a)
For the melody of the closing Choral, Part I,
1 n. 692.
^ An English version of the Cantata, "Watch ye, pray ye," is
published by Novello & Co.
' Originally, for the Second Sunday in Advent (Spitta, i. 570).
In its present form the Cantata's date probably is I7'23. The
Recitativi represent Leipzig additions to the original Franck text
(Wustmann, p. 293).
T. B. C. 18
274
CANTATA LXX
Louis Bourgeois' "Ainsi qu'on oit le cerf," see
Cantata 13.
The words of the Choral are the tenth stanza
of the Hymn, " Freu' dich sehr, O meine Seele" (see
Cantata 19) :
Freu' dich sehr, O meine Seele,
Und tergiss all' Noth und Qual,
Weil dich nun Christus, dein Herre,
Ruft aus diesem Jammerthal.
Seine Freud' und Herrlichkeit
SoUst du sehn in Ewigkeit,
Mit den Engeln jubiliren,
In Ewigkeit triumphiren.
B.G. xvi. 354.
Form. Simple ( Tromba, Oboe, Fagotto, Strings,
Continuo). Choralgesdnge, No. 98.
Melody: " Meinen Jeswn lass' ich nicht"
? Andreas Hammerschmidt 1659
(I) (2)
^
iEjE
m P ^-
ff=r:
P=PE
it^
(3)
(4)
-^d^-:^^r^
=K=S=
:St:*:
T^^=SP^
(5)
(6)
5^
m
^
y * *
>-p
1^
^
(7)
CANTATA LXX
(8)
275
■wr9^-^
'^C ^ ^ *'^
q^=p=
^
t"— »-i^ u* ^
-^
(9)
(lo)
^
^
0 m
U=R
p=^
i
(II)
— K-
(^)
The melody of the concluding Choral of Part II,
" Meinen Jesum lass' ich nicht," was first published,
with Christian Keimann's Hymn, in Part IV of
Andreas Hammerschmidt's Fest- Bus- und Danck-
Lieder, Mit S Vocal Stimmen (Zittau, 1659 [1658]).
The melody appears there in an elongated form
(eleven phrases) owing to the repetition of lines 3,
4, 5, 6, of the stanza, followed by another repetition
of line 6. For use as a Hymn tune the melody has
several forms.
The melody occurs also in Cantatas 124, 154,
157. 163. Bach used it also for the discarded
closing Choral of Part I of the "St Matthew
Passion '' {Choralgesdnge, No. 247), and there is
another harmonisation of it in the Choralgesdnge,
No. 242.
Bach's version, which has not earlier sanction,
is built up of phrases 1-4, 9, 11, of the original
276 CANTATA LXX
(1658) text. In Cantata 124 and in two other
harmonisations of the tune in the Choralgesdnge,
Nos. 242, 247, he substitutes phrase 10 for phrase 9.
There is another melody in the Choralgesdnge,
No. 241, to the same Hymn. It is by Peter
Sohren (1676).
The words of the Choral are the fifth stanza of
Christian Keimann's Hymn, an acrostic upon the
words of the dying Elector Johann Georg of
Saxony (d. 1656) : "Meinen Jesum lass' ich nicht."
The first words of stanzas i-v supply these five
words, while their last lines repeat the sentence in
full. The initial letters of the first five lines of
stanza vi stand for: J[ohann] G[eorg] C[hurfurst]
Z[u] S[achsen], i.e. Johann Georg Elector of
Saxony :
Nicht nach Welt, nach Himmel nicht
Meine Seele wUnscht und sehnet' ;
Jesum wiinsch' ich ^ und sein Licht :
Der mich hat mit Gott versbhnet,
Der mich frei macht' vom Gericht,
Meinen Jesum lass' ich nicht.
B.G. xvi. 368.
English translations of the Hymn are noted in
the Dictionary of Hymnology, p. 614.
Form. Embellished {Tromba, Oboe, Fagotto,
Strings, Continuo). Choralgesdnge, No. 243.
' 1658 stohnet. ^ 1658 wiinscht sie. * 1658 freyet.
CANTATA LXX
277
Melody: " Nun freut euch, Heben Christen g^ man"
Anon. 1535
lEi
^
32
S^
S
i^i^t
a'^TT
i
^=t
H^E3
^^l^JL^Jj-Mi^E^e^
ii^:
^^
f
=t=t
In the second movement of Part II of the
Cantata (B.G. xvi. 360), the Bass Recitative, " Ach,
soil nicht dieser grosse Tag," the Tromba has the
melody of Luther's Advent Hymn, " Nun freut
euch, lieben Christen g'mein,'' generally known as
" Luther's Hymn," and also, through its association
with Bartholomaus Ringwaldt's Advent Hymn, as
" Es ist gewisslich an der Zeit^"
The melody, " Nun freut euch, lieben Christen
g'mein," was first published, with Luther's Hymn, in
Klug's Geistliche Zz^afer (Wittenberg, 1535 [1529]).
It also occurs in the " Christmas Oratorio," No. 59.
There is another harmonisation of it in the Choral-
gesange. No. 262. Organ Works, N. xviii. 80. Bach's
text is invariable and is found in sixteenth century
Hymn books.
' See Back's Chorals, Part I, 58.
278 CANTATA LXXl
Cantata LXXI. Gott ist mein Konig. For
the Inauguration of the Town Council, Miihl-
hausen (1708)
The Choral melody of the second movement is
the 1693 tune, "O Gott, du frommer Gott" (see
Cantata 24).
The words of the Choral are the sixth stanza
of Johann Heermann's " O Gott, du frommer Gott "
(see Cantata 24) :
Soil ich auf dieser Welt
Mein Leben hbher bringen,
Durch manchen sauren Tritt
Hindurch in's Alter dringen :
So gieb Geduld ; vor Stind'
Und Schanden niich bewahr',
Auf dass ich tragen mag
Mit Ehren graues Haar'. B.G. xviii. 12.
Form. A Tenor " Aria con Corale in Canto" sung
by a Soprano, i.e. a Duetto {Organy.
' 1630 Das ich mit Ehren trag
All meine grawe Haar.
Bach's last two lines are taken from the 1636 edition of the DevoH
Musica Cordis.
2 See Spitta, I. 346-348, on Bach's combination of Bible verses
with suitable stanzas of Chorals. Strictly, the movement is a Trio
for Soprano (having the Choral melody). Tenor (having an inde-
pendent Aria), and an accompanying Continao.
CANTATA LXXII 279
Cantata LXXII. Alles nur nach Gottes
WiLLEN. Third Sunday after the Epiphany
{c. 1 7250
For the melody of the concluding Choral,
" Was mein Gott will, das g'scheh' allzeit," see
Cantata 65.
The words of the Choral are the first stanza of
Albrecht Margrave of Brandenburg-Culmbach's
only Hymn, "Was mein Gott will, das g'scheh'
allzeit," first published as a broadsheet at Niirn-
berg c. 1554, and in Fiinff Schone Geistliche Lieder
(Dresden, 1556):
Was mein Gott will, das g'scheh' allzeit',
Sein Will' der ist der beste^;
Zu helfen den'n er ist bereit,
Die an ihn glauben feste.
Er hilft aus Noth,
Der fromme Gott,
Und ziichtiget'' mit Massen :
Wer Gott vertraut,
Fest auf ihn baut,
Den will er nicht verlassen. B.G. xviii. 84.
English translations of the Hymn are noted in
the Dictionary of Hymnology, p. 37.
Form. Simple (2 Ob., Strings, Continuo).
Choralgesdnge, No. 344.
' Wustmann (p. 277) suggests a date before 1723.
■= c. 1554 aller beste. ^ c. 1554 Er trost die Welt
28o
CANTATA LXXIII
Cantata LXXIII. Herr, wie du willt, so
SCHICK'S MIT MIR. Third Sunday after the
Epiphany (c. 1725)
Melody: "Wo Gott der Herr nichtbei uns halt" Anon. 1535
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The Choral melody of the opening movement,
" Wo Gott der Herr nicht bei uns halt," was iirst
published, with Justus Jonas' (1493-1555) Hymn
bearing that title, in Joseph Klug's Geistliche Lieder
(Wittenberg, 1535 [1529]). The Hymn was most
usually sung to the tune " Ach lieben Christen, seid
getrost," but Bach follows Criiger (1709) in asso-
ciating it with " Wo Gott der Herr."
The melody also occurs in Cantatas 114 and
178, and in Cantata D 3 attributed to Bach,
" Siehe, as hat iiberwunden der Lowe." There are
three other harmonisations of the tune in the
Choralgesdnge, Nos. 383, 385, 388.
The words of the Choral are the first stanza
of Caspar Bienemann's (Melissander), " Herr, wie
du willt, so Schick's mit mir," first published in
his Betbilchlein (Leipzig, 1582).
CANTATA LXXIII 28 1
Bienemann was born at Nurnberg in 1540.
He accompanied an Imperial embassy to Greece
as interpreter, and there assumed the name
Melissander. In 1578 he became pastor and
General Superintendent at Altenburg. He died
there in 1591. The Hymn was written in 1574,
when he was private tutor to the children of Duke
Johann Wilhelm of Saxe- Weimar, and was taught
as a prayer to the Duchess Maria, then aged three.
The initial letters of the three stanzas form an
acrostic on her title, " Herzogin zu Sachsen " :
Herr, wie du willt, so Schick's mit mir
In Leben und im Sterben !
AUein zu dir steht mein Begier,
Herr, lass michi nicht verderben !
Erhalt' mich nur in deiner Huld,
Sonst, wie du willt, gieb mir Geduld ;
Denn dein Will' ist der beste. B.G. xviii. 87.
Translations of the Hymn into English are
noted in the Dictionary of Hymnology, p. 142,
Form. Choral Fantasia. The Choral Chorus
(S.A.T.B.), Extended in design, is intersected by
Recitative passages for S.T.B. which elaborate the
ideas suggested by the Hymn. The Recitative
passages are sung to orchestral ritornelli, always
the same, but differing in key {Corno, 2 Ob., Strings,
Organ obbligato, ContinuoY
1 1582 Lass mich, Herr.
-" See Spitta, 11. 414, and p. 44 supra.
282 CANTATA LXXIII
For the melody of the concluding Choral,
"Von Gott will ich nicht lassen," see Cantata ii.
The words of the Choral are the ninth stanza
of Ludwig Helmbold's "Von Gott will ich nicht
lassen," founded on Psalm Ixxiii. 23. The Hymn,
written during a pestilence at Erfurt in 1563, was
first published as a broadsheet in 1563-64 and
later in Hundert Christenliche Haussgesang (Nurn-
berg, 1569).
Helmbold was born at Muhlhausen in 1532,
was educated at Leipzig and Erfurt, became Dean
of the Philosophical Faculty in the latter University,
and was crowned a poet by Maximilian II in 1566.
He became pastor of St Blasius' Church, Miihl-
hausen, in 1586, and Superintendent there. He
died in 1 598 :
Das ist des Vaters Wille,
Der uns erschaffen' hat ;
Sein Sohn hat Gut's die Fiille
Erworben uns aus Gnad'^ ;
Auch Gott', der heil'ge Geist,
Im Glauben uns regieret,
Zum Reich des Himmels fuhret :
Ihm sei Lob, Ehr" und Preis. B.G. xviii. 104.
English translations of the Hymn are noted in
the Dictionary of Hymnology, p. 508.
Form. Simple {Como, 2 Ob., Strings, Continue').
Choralgesdnge, No. 328.
' 1569 geschaffen. ° 1569 Erworben und Genad. ' 1569 Gott.
CANTATA LXXIV
283
Cantata LXXIV. Wer mich liebet, der
WIRD MEIN Wort halten. Whit Sunday
(I73S0
Melody: '■'■ Kommt her zu mir, spricht Gottes Sohn"
Anon. 1530
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The melody of the concluding Choral is an
anonymous tune published as a broadsheet, " Ain
schons newes Christlichs lyed," in 1530, with Georg
Griienwald's (d. 1530) Hymn, " Kommt her zu mir,
spricht [sagt] Gottes Sohn."
The melody also occurs in Cantatas 86 and 108.
There is earlier authority for Bach's variation of
the opening (1534) and closing (1598) phrases of
the melody.
The words of the Choral are the second stanza
of Paul Gerhardt's "Gott Vater, sende deinen
Geist," first published in the 1653 (Berlin) edition
of Criiger's Praxis Pietatis Melica, to a melody by
Johann Criiger, " Den Herren meine Seel' erhebt."
1 The Cantata is an elaboration of No. sg. See Spitta, i. 511.
284 CANTATA LXXV
Bach follows general use in associating the Hymn
with the tune " Kommt her zu mir " (supra) :
Kein Menschenkind hier auf der Erd'
1st dieser edlen Gabe werth,
Bei uns ist kein Verdienen ;
Hier gilt gar nichts als Lieb' und Gnad',
Die Christus uns verdienet hat
Mit Biissen und Versiihnen. B.G. xviii. 146.
Form. Simple (Tromba, Ob. da caccia, 2 Ob.,
Strings, Continuo). Choralgesdnge, No. 223.
Cantata LXXV. Die Elenden sollen essen.
First Sunday after Trinity' (1723)
(«)
The melody of the concluding Choral of Part I
is that of Samuel Rodigast's Hymn, " Was Gott
thut, das ist wohlgetha:n " (see Cantata 1 2).
The words of the Choral are the fifth stanza of
that Hymn :
Was Gott thut, das ist wohlgethan !
Muss ich den Kelch gleich schmecken,
Der bitter ist nach meinem Wahn :
Lass ich mich doch nicht^ schrecken :
Weil doch zuletzt ich ward' ergdtzt
Mit siissem Trost im Herzen ;
Da weichen alle Schmerzen. B.G. xviii. 171.
Form. Extended (2 Ob., Strings, Continuo).
1 Spitta, II. 357 n., points out that the Cantata, in an abridged and
altered form, beginning with the first Recitativo, was known under
the title, "Was hilft des Purpurs Majestat."
^ 1676 nichts.
CANTATA LXXVI 285
The Second Part of the Cantata opens with an
Orchestral Sinfonia, or Orchestral Choral Fantasia
{Tromba, Strings, Centinuo), on the melody "Was
Gott thut." Schweitzer' observes that this is the
only occasion on which Bach has given a Choral
purely orchestral treatment. The Tromba has the
cantus.
{c)
The words, melody, and form of the Choral
concluding the Second Part are identical with those
of («) supra.
Cantata LXXVI. Die Himmel erzahlen die
Ehre Gottes. Second Sunday after Trinity^
(1723)
{a)
The words and melody of the concluding Choral
of Part I are Luther's " Es woll' uns Gott genadig
sein " (see Cantata 69). The words are the first
stanza of the Hymn :
Es woll' uns Gott genadig sein
Und seinen Segen geben ;
Sein Antlitz uns mit hellem Schein
Erleucht' zum ew'gen Leben :
' Vol. II. 150. See also Spitta, 11. 355.
^ Beginning with the opening of the Second Part, and under the
title, "Gott segne noch die treue Schaar," the Cantata was used for
a Reformation Festival. See Spitta, II. 357 n.
286 CANTATA LXXVI
Dass wir erkennen seine Werk'
Und was ihm lieb auf Erden,
Und Jesus Christus Heil und Stark'
Bekannt den Heiden werden,
Und sie zu Gott bekehren !
B.G. xviii. 218.
Form. Extended {Tromba, Strings, Continuo).
Erk, No. 201.
The concluding Choral of Part II is a repetition
of {a) supra, the words being the third stanza of
Luther's Hymn :
Es danke, Gott, und lobe dich
Das Volk in guten Thaten ;
Das Land bringt Frucht und bessert sich:
Dein Wort ist wohl gerathen.
Uns seg'ne Vater und der Sohn,
Uns seg'ne Gott, der heil'ge Geist;
Dem alle Welt die Ehre thu',
Vor ihm sich fiirchte allermeist,
Und' sprech von Herzen : Amen !
B.G. xviii. 230.
Form. Extended (Tromba, Strings, Continuo).
Erk, No. 201.
' 1524 Nu.
CANTATA LXXVII
287
Cantata LXXVII. Du sollst Gott, deinen
Herren, LIEBEN. Thirteenth Sunday after
Trinity (r. 1725)
Melody. '■'■Dies sind die heiFgen zehn Gebof" Anon. 1524
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388 CANTATA LXXVII
(a)
The opening Chorus of the Cantata introduces
a Choral melody that does not appear elsewhere in
the Cantatas, Oratorios, or Motetts. The move-
ment is a Chorus upon the words, " Du sollst Gott,
deinen Herren, lieben von ganzem Herzen, von
ganzer Seele, von alien Kraften, von ganzem
Gemiithe, und deinen Nachsten als dich selbst"
("Thou shalt love the Lord thy God with all
thy heart, and with all thy soul, and with all thy
strength, and with all thy mind, and thy neigh-
bour as thyself," St Luke x. 27). As Spitta com-
ments^, Bach called to mind the continuation of the
Scripture text : " On these two commandments
hang all the law and the prophets." He therefore
enforces the text by the melody of Luther's Hymn,
" Dies sind die heil'gen zehn Gebot' " (" These are
the sacred ten commandments"). While the Chorus
is worked out in quavers from the first line of the
melody, the lesser commandment is stated by the
Tromba da tirarsi, which announces the tune in
crotchets, while the greater commandment is
emphasised by the Organ, treating the melody in
minims as a cantus firmus.
The melody is an adaptation of the tune of the
song, "In Gottes Namen fahren wir." Reconstructed
for Luther's Hymn, the tune was published both in
' Vol. II. 430.
CANTATA LXXVII 289
the Erfurt Enchiridion of 1524 and in Johann
Walther's GeystUche gesangk Buchleyn at Wittenberg
in the same year. The reconstruction of the tune
may be attributed to Walther.
There is a harmonisation of the tune in the
Chorcdgesdnge, No. 66. Organ Works, N. xv. 103 ;
xvi. 42, 47.
Form. Choral Fantasia {Tromba da tirarsi.
Strings, Continuoy.
For the melody of the concluding Choral, " Ach
Gott, vom Himmel sieh' darein," see Cantata 2.
Bach's MS. lacks a text here^ and the words of
the Choral were selected as appropriate by Carl
Friedrich Zelter (1758-1833). They are the eighth
stanza of the Hymn, " Wenn einer alle Ding
verstiind," published in Das Hannoverische ordent-
liche, vollstdndige Gesangbuch (Liineburg, 1657),
attributed to David Denicke :
Du stellst, mein Jesu, selber dich^
Zum Vorbild wahrer Liebe :
Gieb mir auch Gnad' und Kraft, dass ich''
Gott und den Nachsten liebe ^ ;
^ See Spitta, 11. 430, on the relation of the movement to the Organ
Chorals. He regards it as a development between the earlier Orgel-
biichlein (N. xv. T03) and the later Clameriibung (N. xvi. \i) Preludes.
^ Spitta, II. 429, remarks that the ms. indicates haste and lack
of leisure.
3 1657 Herr Jesu, du stellst selber dich.
■' 1657 Verleih, das dem zu folge ich.
'■' 1657 Die lieb am nechsten iibe.
T. B. C. 19
290
CANTATA LXXVIII
Dass ich bei' AUem, wo ich kann,
Stets lieb'^ und helfe Jedermann
Nach deinetn Wort und Weise'.
B.G. xviii. 254.
Form. Simple*. Choralgesdnge, No. 6.
Cantata LXXVIII. Jesu, der du meine Seele.
Fourteenth Sunday after Trinity (after 1734)
Melody: " Wachet, dock, erwacht, ihr Schldfer" Anon. 1662
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A Choral Cantata, on Johann Rist's Lenten
Hymn, " Jesu, der du meine Seele," first published
in Part I of his Himlisc/i^r Lieder {Liinehurg, 1641).
The melody of the opening and concluding
movements has, from 1663, been known by its
association with Rist's Hymn. In its earliest form
it belonged to the secular song, " Daphnis ging fiir
wenig Tagen," and is found in association with it in
Theobald Grummer's Des Daphnis aus Cimbrien
' 1657 in. ^ 1657 Lieb, trew.
^ 1657 Wie ich mirs wiinsch, erweise.
^ Jhe Score does not indicate the instrumentatioij.
CANTATA LXXVIII 29 1
Galathee (Hamburg, 1642). In 1643 it was used
for the song, " Ferdinand, du grosser Kaiser." In
the 1662 (Frankfort) edition of Johann Criiger's
Praxis Pietatis Melica the tune is attached to
Georg Philipp Harsdorffer's (1607-58) " Wachet
doch, erwacht, ihr Schlafer," and in Nicolaus
Stenger's Christlich- neuvermehrt und gebessertes
Gesangbuch (Erfurt, 1663) 't was set to Rist's
Hymn. With that Hymn it has been particularly
associated ever since.
The melody occurs also in Cantata 105. There
are other harmonisations of the tune in the Choral-
gesdnge, Nos. 185, 186, 187. For the first half of
the tune (lines 1-4) Bach's text is invariable and
follows the Rothenburg Cantor Georg Falck's
Andacht-erweckende Seelen-Cymbeln (1672). For
lines 7 and 8 he uses more than one form. In
Cantata 78 he follows the Leipzig organist Daniel
Vetter's Musicalische Kirch- und Hauss-Ergotzlich-
keit (Part II, Leipzig, 1713). Elsewhere his eighth
line follows Telemann (1730).
(a)
The words of the opening movement are the
first stanza of Johann Rist's Hymn :
Jesu, der du meine Seele
Hast durch deinen bittern Tod
Aus des Teufels finstrer Hohle
Und der schweren Seelennoth^
1 1641 Sunden Noth.
19 — 2-
292 CANTATA LXXVIII
Kraftiglich heraus gerissen,
Und mich Solches lassen wissen
Durch dein angenehmes Wort :
Sei doch jetzt, O Gott, mein Hort !
B.G. xviii. 257.
Translations of the Hymn into English are
noted in the Dictionary of Hymnology, p. 966.
Form. Choral Fantasia ^ {Corno, Flauto, 2 Ob.,
Strings, Continuo).
The words of the concluding Choral are the
twelfth stanza of Rist's Hymn :
Herr ! ich glaube, hilf mir Schwachen,
Lass mich ja verzagen nicht^ ;
Du, du kannst mich starker machen,
Wenn mich Siind' und Tod anficht.
Deiner Giite will ich trauen,
Bis ich frohlich werde schauen
Dich, Herr Jesu, nach dem Strait
In der sussen Ewigkeit.
B.G. xviii. 286.
Form. Simple {Corno, Flauto, 2 Ob., Strings,
Continuo). Choralgesange, No. 188"
' The movement is built upon the same ground Bass as the
Crucifixus of the B Minor Mass.
' 1641 Lass uns ja verderben nicht.
■' The last four lines of the second Recitativo are from the tenth
stanza of the Hymn.
CANTATA LXXIX
293
Cantata LXXIX. Gott, der Herr, ist Sonn'
UND SCHILD'. For the Reformation Festival
(?I73S)
Melody: "Nun danket alle Gott" Johann Criiger 1648
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The melody of the third movement is Johann
Criiger's "Nun danket alle Gott," first published, with
Martin Rinkart's Hymn, in the 1648 (Berlin) edition
of the Praxis Pietatis Melica. The tune appears
there anonymously; but in the 1653 Criiger- Runge
Geistliche Lieder und Psalmen Criiger's initials are
attached to it. It has been conjectured to be an
adaptation by Criiger of a melody either by Rinkart,
who was a good musician, or Luca Marenzio, a
choirmaster at Rome, who died in 1598.
1 An English version of the Cantata,
Shield," is published by Novello & Co.
' The Lord is a Sun and
294 CANTATA LXXIX
The melody occurs also in Cantata 192 and in
the third of the " Drei Chorale zu Trauungen ■"
( Choralgesdnge, No. 2 5 8). There is another harmoni-
sation of the tune in the Choralgesdnge, No. 257.
Organ Works, N. xvii. 40. Bach's text is invariable.
The words of the movement are the first stanza
of Martin Rinkart's Hymn, first published in 1648
{supra).
Rinkart was born at Eilenburg in 1586. He
became a chorister of St Thomas' Church, Leipzig,
was briefly Cantor at Eisleben, and in 1617 was
appointed Archidiaconus at Eilenburg. He died
in 1649. His Hymn of Thanksgiving (" Lob-
und Danklied") is founded on Ecclesiasticus
1. 22-24:
Nun danket AUe Gott
Mit Herzen, Mund und Handen,
Der grosse Dinge thut
An uns und alien Enden,
Der uns von Mutterleib'
Und Kindesbeinen an
Unzahlig viel zu gut,
Und noch jetzo gethan !
B.G. xviii. 308.
Translations of the Hymn into English are
noted in the Dictionary of Hymnology, pp. 963,
1679.
Form. Extended (2 Cor., Timpani, 2 FL, 2 Ob.,
Strings, Contintw). Choralgesdnge, No. 259.
CANTATA LXXIX 295
Melody: '■'■Nun lasst uns Gott dent H err en" Anon. 1575
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The melody of the concluding Choral is that of
Ludwig Helmbold's Grace after Meat, " Nun lasst
uns Gott dem Herren," which was published first
in Helmbold's Geistliche Lieder, den Gottseligen
296 CANTATA LXXIX
Christen zugericht (Miihlhausen, i57S)> ^"^^ ^^-
peated in Nicolaus Selnecker's Christliche Psalmen,
Lieder, und Kirchengesenge (Leipzig, 1587). The
monotonous melody, which Bach uses (with some
modifications introduced by Criiger [1649]), is
founded on the one that accompanies the Hymn
in Selnecker's volume. It is clear, however, that
Selnecker's is a variation of the descant melody of
the four-part setting of the Hymn in Helmbold's
Geistliche Lieder. The monotony of the tune
suggests that the Tenor is the true melody there.
Versions of the former, equally monotonous and
derived from the 1575 text, are set to the Hymn
in other collections between 1575 and 1598.
The melody occurs also in Cantatas 165 and 194.
It is sometimes quoted as "' Wach auf, mein Herz,
und singe," from its association with Paul Gerhardt's
Morning Hymn.
The words of the concluding Choral are the
eighth stanza of Helmbold's Hymn :
Erhalt' uns in der Wahrheit,
Gieb ewigliche Freiheit,
Zu preisen deinen Namen
Durch Jesum Christum, Amen !
B.C. xviii. 316.
English translations of the Hymn are noted in
the Dictionary of Hymnology, p. 508.
Form. Embellished (2 Cor., Timpani, 2 Fl.
2 Ob., Strings, Continuo). Choralgesdnge, No. 267
CANTATA LXXX
297'
Cantata LXXX. Ein' feste Burg ist unser
GOTT^. For the Reformation Festival (1730^)
Melody. '■'■ Eiri feste Burg"
Martin Luther 1535
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A Choral Cantata', on Luther's Hymn, " Ein'
feste Burg," a free version of Psalm xlvi, probably
written for the Diet of Speyer in 1529, though an
earlier origin has been suggested. It was first
published by Klug in 1535 [1529] {infra).
The melody, which dominates the Cantata and
forms the subject of four of its movements, is quoted
above from Joseph Klug's Geistliche Lieder zu
Wittemberg (Wittenberg, iS3S), where it appears in
^ English versions of the Cantata are published by Novello & Co. ,
" A stronghold sure," and Breitkopf & Haertel, " A stronghold sure
is God our Lord."
'■^ The work is the enlargement of an eai-ly (17 16) Cantata,
" AUes was von Gottgeboren" (Spitta, i. 563), written for the Third
Sunday in Lent.
2 See p. 33 supra.
298 CANTATA LXXX
association with Luther's Hymn. Both tune and
words, however, are found in Jobst Gutknecht's
Kirche gesenge, mit vil schonen Psalmen unnd
Mehdey (Niirnberg, 1531), and in Klug's collection
of Luther's Hymns. That the melody in its present
form is by Luther is generally agreed ; but the
extent to which he was indebted to Gregorian
material is in dispute.
The melody does not occur elsewhere in the
Cantatas, Oratorios, or Motetts There are two
harmonisations of it in the Choralgesdnge, Nos. 74,
75. Organ Works, N. xviii. 30.
{a).
The words of the opening movement are the
first stanza of Luther's Hymn :
Ein' feste Burg ist unser Gott,
Ein' gute Wehr und Waffen ;
Er hilft uns frei aus aller Noth,
Die uns jetzt hat betroffen.
Der alte Bose Feind,
Mit Ernst er's jetzt meint;
Gross' Macht und viel' List
Sein' grausam Riistung ist,
Auf Erd' ist nicht sein's Gleichen.
B.G. xviii. 319.
Translations of the Hymn into English are
noted in the Dictionary of Hymnology, pp. 324-325,
1561, 1631, 1729.
CANTATA LXXX 299
Form. Choral Fantasia. The cantus is treated
freely and fugally (3 Trombe, Timpani, 2 Ob.,
Strings, Organ^).
The words of the second movement are the
second stanza of Luther's Hymn :
Mit unsrer Macht ist nichts gethan,
Wir sind gar bald verloren.
Es streit't fur uns der rechte Mann,
Den Gott selbst hat^ erkoren.
Fragst du, wer der ist?
Er heisst Jesus ^ Christ,
Der Herre Zebaoth,
Und ist kein ander Gott ;
Das Feld muss er behalten.
B.G. xviii. 351.
Form. Marked "Aria," the movement is a
Duetto for Bass and Soprano, the latter singing a
' The vocal parts of this movement are printed in the Appendix
to B.G. xviii. 381 to a Latin version of the first stanza of the Hymn :
Gaudete omnes populi,
Habemus Deum fortem !
Est .Sabaoth, qui nullibi
Vult peccatoris mortem.
Ecclesiam suam
Servat securam,
Et firmissimum
Eius est fulcrum.
A malo hoste
Tuetur optime ;
Vim Satanae ligavit.
'- 153s hat selbs. ' 1535 Jhesu.
300 CANTATA LXXX
florid and free version of the Choral melody (Oboe,
Strings, Continue).
(c)
The words of the fifth movement are the third
stanza of Luther's Hymn :
Und wenn die Welt vol! Teufel war",
Und woUten uns' verschlingen,
So fiirchten wir uns nicht so sehr,
Es soil uns doch gelingen.
Der Furst dieser Welt,
Wie sau'r er sich stellt,
Thut er uns doch nichts^;
Das macht, er ist gericht't ;
Ein Wortlein kann ihn fallen.
B.G. xviii. 360.
Form. A Choral Fantasia, in form an Unison
Chorus (3 Trombe, Timpani, 2 Ob. d'amore, Strings,
Continudy.
' 153S wolt uns gar. ^ 1535 nicht.
' In the Appendix to B.G. xviii. 389, the melody is printed
to a Latin version of the fourth stanza of the Hymn :
Manebit verbum Domini,
Quid tela hostis dira.
Nam Spiritus paracleti
Adest tutela mira.
Sumat corpora,
Sumat spolium
Cara omnia,
Nil nobis perditum,
Nam nianet regnum Dei,
CANTATA LXXXI 30I
(d)
The words of the concluding movement are the
fourth stanza of Luther's Hymn :
Das Wort sie sollen lassen stahn
Und kein'n Dank dazu haben.
Er ist bei uns wohl auf dem Plan
Mit seinem Geist und Gaben.
Nehmen sie uns den Leib^,
Gut, Ehr', Kind und Weib;
Lass fahren dahin,
Sie haben's kein'n Gewinn ;
Das Reich muss uns doch bleiben.
B.G. xviii. 378.
Form. Simple (Cb«^?««o)^. Choralgesdnge,'^o.
76.
Cantata LXXXI. Jesus schlaft, was soll
ICH HOFFEN'? Fourth Sunday after the
Epiphany (1724)
The melody of the concluding Choral is Johann
Criiger's "Jesu, meine Freude" (see Cantata 64).
' '636 Nemen sie den Leib.
2 Erk, I. 114 (No. 24), gives the instrumentation of the move-
ment as: 3 Trombe, Flauto, Oboe da cacna, 2 Ob., Strings, Organ,
Continuo.
^ English versionsof the Cantataare published by Novello& Co.,
"Jesus sleeps, what hope remaineth?" and Breitkopf & Haertel,
"Jesus sleeps, vain all my hoping,"
302
CANTATA LXXXin
The words are the second stanza of Johann
Francks "Jesu, meine Freude" (see Cantata 64):
Unter deinen Schirmen
Bin ich vor den Stiirmen
Aller Feinde frei.
Lass den Satan wittern,
Lass den Feind erbittern,
Mir steht Jesus bei.
Ob es jetzt
Gleich kracht und blitzt,
Obgleich Siind' und HoUe schrecken :
Jesus will mich decken. B.G. xx. (i) 24.
Form. Simple (2 Ob. d'amore. Strings, Continuo).
Choralgesdnge, No. 197.
Cantata LXXXIII. Erfreute Zeit im neuen
BUNDE. Purification of the B.V.M. (? 1724)
Melody : '' Mit Fried' und Freud' ich fahr' dahin "
? Martin Luther 1524
I
3
W
■C^0-^
W
JTC ^' •'^SJ-4JiH[jJr3^:J
• In later texts a !? here.
CANTATA LXXXIII 303
The melody and words of the concluding Choral
are Luther's "Mit Fried' und Freud' ich fahr' dahin,"
a free rendering of the " Nunc Dimittis," first pub-
lished, with the melody, in Johann Walther's
Geystliche gesangk Buchleyn (Wittenberg, 1524).
With considerable probability the tune may be
attributed to Luther.
The melody occurs also in Cantatas 95, 106,
and 125. There is a harmonisation of it in the
Choralgesange, No. 249. Organ Works, N. xv. 50.
The words of the Choral are the fourth stanza
of Luther's Hymn, being the appointed Hymn for
the Festival :
Er ist das Heil und selig Licht
Fiir die Heiden,
Zur erleuchten', die dich kennen nicht,
Und zu weiden.
Er ist dein's Volks Israel
Der Preis, Ehr', Freud' und Wonne.
B.G. XX. (i) 76.
Translations of the Hymn into English are
noted in the Dictionary of Hymnology, p. 760.
Form. Simple ( Corno, 2 Ob., Strings, Continue).
Choralgesange, No. 250.
In the second movement (B.G. xx. (i) 64),
marked "Intonazione (Nunc Dimittis) e Recitative,"
' 1^2^ leuchten,
304 CANTATA LXXXIV
the Bass declaims the words, " Herr, nun lassest du
deinen Diener in Friede fahren, wie du gesaget hast,"
to the old Intonation of the " Nunc Dimittis."
Cantata LXXXIV. Ich bin vergnugt mit
MEINEM Glucke. Septuagesima Sunday
(1731 or 1732')
The melody of the concluding Choral is Georg
Neumark's " Wer nur den lieben Gott lasst walten"
(see Cantata 21).
The words of the Choral are the twelfth stanza
of Emilie Juliane Countess of Schwarzburg-Rudol-
stadt's funerary Hymn, " Wer weiss, wie nahe mir
mein Ende " (see Cantata 27) :
Ich leb' indess in dir vergnuget,
Und sterb' ohn' alle Kummerniss.
Mir g'niiget, wie es mein Gott^ fuget,
Ich glaub' und bin es ganz gewiss :
Durch deine Gnad' und Christi Blut
Machst^ du's mit meinem Ende gut'.
B.G. XX. (i) 98.
Form. Simple (Ol>oe,String^s,Coniinuo). Choral-
gesdnge, No. 373.
' The B.G. title page bears the date 1729.
* 169s mein Gott es. ' :695 Mach.
CANTATA LXXXV
30s
Cantata LXXXV. Ich bin ein guter Hirt'.
Second Sunday after Easter ("Misericordias
Domini") (1735)
Melody. '■'■ Allein Gott in der HoK set Ehr"'
Nicolaus Decius 1539
ferr^j^^3^^^^
^
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Melody : " Gloria in excelsis Deo "
(3)
1545^
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(4)
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ES
2z:
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(7)
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(8)
(II)
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:^
:;^=2:i
I A Score of this Cantata is also in the Neue Bachgesellschaft^
ix. (i) 1908.
" Johann Spangenberg's Kirchengesenge Deudtsch (Magdeburg).
T- B, C,
39
306 CANTATA LXXXV
The melody of the third movement is Nicolaus
Decius' (or Hovesch) " Allein Gott in der Hoh' sei
Ehr'," first published, with Decius' rendering of the
"Gloria in excelsis," in Valentin Schumann's
Geistlkhe Lieder auffs new gebessert und gemehrt
(Leipzig, 1539). The melody was formed by
putting together phrases 3-4, 7-8, 11 of the
"Gloria paschalis." Its association with Becker's
Hymn (infra) is very general.
The melody occurs also in Cantatas 104, 112,
and 128. There is a harmonisation of it in the
Choralgesange, No. 12. Bach's version shows slight
variations of the original. For the second and
third notes following the middle double bar there
is early (1545) authority. For his version of the
final phrase of the tune in the concluding Choral
of Cantata 112 there appears to be none. Organ
Works, N. xvi. 39, 40*, 41 ; xvii. 56, 60, 66 ; xviii.
4. S>7. II.
The words of the third movement are the first
stanza of Cornelius Becker's " Der Herr ist mein
getreuer Hirt," a translation of Psalm xxiii, which
appeared first in Seth Calvisius' Harmonia Can-
tionum ecclesiasticarum (Leipzig, 1 598), and thence
in Becker's Der Psalter DauidsGesangweis(J^ei^z\^,
1602).
CANTATA LXXXV
307
Becker was born at Leipzig in 1561 and became
one of the masters in St Thomas' School there.
In 1594 he was appointed pastor of St Nicolas'
Church, Leipzig, and subsequently Professor of
Theology in the University. He died in 1604 :
Der Herr ist mein getreuer Hirt,
Dem ich mich ganz vertraue :
Zur Weid' er mich, sein Schafflein, fiihrt,
Auf schoner, griiner Aue.
Zum frischen Wasser leift er mich,
Mein' Seel' zu laben kraftiglich
Durch's sel'ge Wort der Gnaden.
B.G. XX. (i) no.
A translation of the Hymn is noted in the
Dictionary of Hymnology, p. 121.
Form. Soprano Unison Choral, in the form of
a Choral Prelude upon the melody (2 Ob., Continuo).
Melody: "/si Gott mein Schild und Hel/ersmann"
Anon. 1694
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308 CANTATA LXXXV
The melody of the concluding Choral, "1st Gott
mein Schild und Helfersmann," was published, with
Homburg's Hymn {infra), in Hundert ahnviuthig-
und sonderbahr geistlicher Arien (Dresden, 1694), a
collection from which few melodies have passed into
common use.
The melody has been attributed incorrectly to
Bach. He has not used it elsewhere and material
is not available to enable the originality of his
variations of the tune to be tested.
The words of the concluding Choral are the
fourth stanza of Ernst Christoph Homburg's " 1st
Gott mein Schild und Helfersmann," or " Gott ist
mein Schild und Helfersmann," first published, with
a different melody, in Part I of Homburg's Geist-
licher Lieder (Naumburg, 1659 [1658]).
Homburg was born near Eisenach in 1605. He
practised as a lawyer at Naumburg, in Saxony, was
regarded by his contemporaries as a poet of high
rank, and was admitted a member of Rist's Order
of Elbe Swans. He died at Naumburg in 1681 :
Ist Gott mein Schutz und treuer Hirt,
Kein Ungliick mich beriihren wird ;
Weicht, alle meine Feinde,
Die ihr mir stiftet Angst und Pein,
Es wird zu eurem Schaden sein ;
Ich habe Gott zum Freunde. E.G. xx. (i) 118.
Form. Simple (2 Ob., Strings, Continuo).
Choralgesdnge, No. 216,
CANTATA LXXXVI 309
Cantata LXXXVI. Wahrlich, wahrlIch,
ICH SAGE EUCH. Fifth Sunday after Easter
("Rogate") (c. 1725)
(a)
The melody of the third movement of the
Cantata is Georg Griienwald's " Kommt her zu mir,
spricht Gottes Sohn " (see Cantata 74).
The words of the movement are the sixteenth
stanza of Griienwald's Hymn, first published, with
the tune, as a broadsheet, entitled "Ain schons
newes Christlichs lyed" (1530).
Griienwald, an Anabaptist shoemaker, was burnt
at the stake as a heretic at Kufstein, in Tyrol, in
1530:
Und was der ewig gut'ge' Gott
In seinem Wort^ versprochen hat,
Geschwor'n bei seinem Namenj
Das halt und giebt er g'wiss fiirwahr^.
Er* half uns zu* der Engel^ Schaar
Durch Jesum Christum, Amen !
B.G. XX. (!) 127.
English translations of the Hymn are noted in
the Dictionary of Hymnology, p. 472.
Form. Soprano Unison Choral (2 Ob., Continuoy.
' 1530 gwaltig. 2 1530 Geyst.
' 1530 unnd war. * 1530 Der.
5 1530 in. " 1530 heylig.
' In the B.G. Score the voice is not stated.
3IO CANTATA LXXXVII
The concluding Choral is set to the words and
melody of Paul Speratus' "Es ist das Heil uns
kommen her " (see Cantata 9).
The words are the eleventh stanza of the Hymn :
Die Hoffnung wart't der rechten Zeit,
Was Gottes Wort zusaget :
Wenn das geschehen soil zur Freud',
Setzt Gott kein' g'wisse Tage.
Er weiss wohl, wenn's am besten ist,
Und braucht an uns kein' arge List;
Dess soU'n wir ihm vertrauen. E.G. xx. (i) 134.
Form. Simple (C(7K^?««<?). Chorcdgesange,'^o.%6.
Cantata LXXXVII. Bisher habt ihr nichts
GEBETEN IN MEINEM Namen. Fifth Sunday
after Easter ("Rogate") {c. 1735)
The melody of the concluding Choral is Johann
Criiger's "Jesu, meine Freude" (see Cantata 64).
The words of the Choral are the ninth stanza
of Heinrich Muller's "Selig ist die Seele." The
Hymn was first published, to a melody of its own,
but with the superscription, " Mel. : Jesu, meine
Freude," in Muller's Geistliche Seelen Musik
(Rostock, 1659).
Miiller was born at Liibeck in 163 1, and from
1653 held various positions at Rostock, as Arch-
deacon, Professor in the University, pastor of two
churches, and Superintendent. He died in 1675:
CANTATA LXXXVIII 311
Muss ich sein betrubet?
So mich Jesus liebet,
1st mir aller Schmerz
Ober Honig siisse:
Tausend Zuckerkiisse
Driicket er an's Herz.
Wenn die Pein
Sich stellet ein,
Seine Liebe macht zur Freuden
Auch das bitt're Leiden. B.G. xx. (i) 152.
Form. Simple {Oboe, 2 Ob. da caccia. Strings,
Continuo). Choralgesdnge, No. 201.
Cantata LXXXVIII. Siehe, ich will viel
Fischer aussenden^. Fifth Sunday after
Trinity (1732)
The melody and words of the concluding Choral
are Georg Neumark's " Wer nur den lieben Gott
lasst walten " (see Cantata 21).
The words are the seventh stanza of the Hymn :
Sing', bet' und geh' auf Gottes Wegen,
Verricht' das Deine nur getreu,
Und trau' des Himmels reichem Segen,
So wird er bei dir werden neu :
Denn welcher seine Zuversicht
Auf Gott setzt, den verlasst er nicht.
B.G. XX. (i) 178.
Form. Simple (2 Ob. d'amore, Tailk^, Strings,
Continuo). Choralgesdnge, No. 368.
' A Score of this Cantata is published by the Neue Bachgesell-
schaft, vii. (i) 1907.
2 The Taille was a Tenor Bassoon.
312
CANtATA LXXXIX
Cantata LXXXIX. Was soll ich aus dir
MACHEN, Ephraim ? Twenty-second Sunday
after Trinity (c. 1730)
The concluding Choral is set to the melody,
" Auf meinen lieben Gott " (see Cantata s).
The words of the Choral are the seventh stanza
of Johann Heermann's Lenten Hymn, " Wo soll ich
fliehen hin ? " (see Cantata 5) :
Mir mangelt zwar sehr viel:
Doch, was ich haben will,
1st AUes tnir zu gute
Erlangt mit deinem Blute;
Damit ich iiberwinde
Tod, Teufel, H611' und Sunde. B:G. xx. (i) 194.
Form. Simple (Corno, 2 Ob., Strings, Continud).
Choralgesdnge, No. 26.
Cantata XC. Es reifet euch ein schreck-
LICH Ende. Twenty-fifth Sunday after
Trinity {c. 1740)
Melody : " Vater unser im Himmelreich " Anon. 1 539
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CANTATA XC 313
The melody, "Vater unser im Himmelreich,"
to which the concluding Choral is set, appears first,
in association with Luther's versification of the
Lord's Prayer, in Valentin Schumann's Geistliche
lieder auffs new gebessert (Leipzig, 1539). The
melody is associated with Moller's Hymn {infra) in
general use.
The melody also occurs in Cantatas loi and 102,
and in the " St John Passion," No. 5. There is a
harmonisation of the tune in the Ckoralgesdnge,
No. 316, which Bach used for the earlier perform-
ances of the " St John Passibn." It is noticeable
that in that work he keeps to the 1539 text of the
melody, whereas in the three Cantatas he substitutes
a B natural for G sharp at the thirteenth note of
the second line {supra) of the 1539 text. Organ
Works, N. XV. 105 ; xvi. S3, 61 ; xix. 12.
The words of the concluding Choral are the
seventh stanza of Martin Moller's " Nimm von uns,
Herr, du treuer Gott," a free translation of the Latin
" Aufer immensam, Deus, aufer iram," first published
(to no specified tune) in Moller's Meditationes Sanc-
torum Patrum (Gorlitz, 1584) :
Leit' uns rait deiner rechten Hand,
Und segne unser' Stadt und Land :
Gieb uns allzeit dein heil'ges Wort,
Behiit' vor Teufel's List und Mord;
Verleih' ein sel'ges Stiindelein,
Auf dass wir ewig bei dir sein ! B.G. xx. (i) 214.
314 CANTATA XCI
English translations of the Hymn are noted in
the Dictionary of Hymnology, p. 92.
Form. Simple {Continue). Choralgesange, No.
319.
Cantata XCI. Gelobet seist du, Jesu Christ.
Christmas Day {c. 1740)
A Choral Cantata, on Luther's Christmas Hymn,
"Gelobet seist du, Jesu Christ" (see Cantata 64).
The melody of the three Choral movements of the
Cantata is that of the Hymn (see Cantata 64).
(«)
The words of the opening movement are the
first stanza of the Hymn :
Gelobet seist du, Jesu Christ !
Dass du Mensch geboren hist
Von einer Jungfrau, das ist wahr,
Dess freuet sich der Engel Schaar.
Kyrie eleis !
B.G. xxii. 3.
Form. Choral Fantasia (2 Cor., Timpani, 3 Ob.,
Strings, Continuo).
The words of the Choral in the second move-
ment are the second stanza of Luther's Hymn :
Des ew'gen Vaters einig's Kind
Jetzt man in der Krippe find't.
CANTATA XCII 315
In unser armes Fleisch und Blut
Verkleidet sich das eVge Gut.
B.G. xxii. 21,
Form. "Recitativ und Choral" for Soprano
{^ContinuoY.
{c)
The words of the concluding Choral are the
seventh stanza of Luther's Hymn :
Das hat er Alles uns gethan,
Sein' gross' Lieb' zu zeigen an ;
Dess freu' sich alle Christenheit,
Und dank' ihm dess in Ewigkeit.
Kyrieleis !
B.G. xxii. 32.
Form. Embellished (2 Cor., Timpani, 3 Ob.,
Strings, Continue'). Choralgesdnge, No. 109.
Cantata XCII. Ich hab' in Gottes Herz
UND Sinn. Septuagesima Sunday (c. 1740)
A Choral Cantata, on Paul Gerhardt's Hymn,
" Ich hab' in Gottes Herz und Sinn " (see Cantata
65).
The melody of the five Choral movements is
the anonymous " Was mein Gott will, das g'scheh'
allzeit,'' or " II me souffit de tous mes maulx " (see
Cantata 65). Gerhardt's Hymn was published
to the tune in 1647.
' See p. 44 supra.
3l6 CANTATA XCII
(a)
The words of the opening movement are the
first stanza of Gerhardt's Hymn :
Ich hab' in Gottes Herz und Sinn
Mein Herz und Sinn ergeben.
Was bose scheint, ist mein' Gewinn,
Der Tod selbst ist mein Leben.
Ich bin ein Sohn
Dess', der den Thron
Des Himmels aufgezogen ;
Ob er gleich schlagt
Und Kreuz auflegt,
Bleibt doch sein Herz gewogen. B.G. xxii. 35.
Traiislations of the Hymn are noted in the
Dictionary of Hymnology, p. 412.
Form. Choral Fantasia (2 Ob. d'amore, Strings,
Continue).
The Choral words in the second movement are
the second stanza of Gerhardt's Hymn :
Es^ kann mir fehlen nimmermehr !
Mein Vater muss mich lieben.
Wenn er mich auch gleich wirft in's Meer,
So will er mich nur iiben
Und mein Gemiith
In seiner Giit'
Gewohnen fest zu stehen.
Halt' ich dann Stand,
Weiss seine Hand
Mich wieder zu erhohen. B.G. xxii. 47.
1 1647 '"i'^- ^ '647 Das.
CANTATA XCII 317
Form. "■ Recitativ und Choral " for Bass {Con-
tinuoy.
The words of the fourth movement are the fifth
stanza of Gerhardt's Hymn :
Zu dem ist Weisheit und Verstand
Bei ihm ohn' alle Massen ;
Zeit, Ort und Stund' ist ihm bekannt
Zu thun und auch zu lassen.
Er weiss, wenn Freud',
Er weiss, wenn Leid,
Uns, seinen Kindem, diene,
Und was er thut,
Ist alles gut,
Ob's noch so traurig schiene. B.G. xxii. 54.
Form. An Alto Unison Choral (2 Ob. d'amore,
Continuo).
id)
The Choral words of the seventh movement are
the tenth stanza of Gerhardt's Hymn :
Ei nun, mein Gott, so fall' ich dir
Getrost in deine Hande ;
Nimm mich, und mache es mit mir^
Bis an mein letztes Ende,
Wie du wohl weisst,
Dass meinem Geist
Dadurch sein Nutz entstehe,
Und deine Ehr'
Je mehr und mehr
Sich in ihr selbst erhohe. B.G. xxii. 61.
' See p. 44 supra, ^ 1647 ■"^ch es du mit mir.
3l8 CANTATA XCin
Form. "Choral unclRecitativ"(S.A.T.B.). The
movement, intersected by Recitativo passages for all
the vocal parts, is of the Extended Dialogus type
(Continuo).
(^)
The words of the concluding Choral are the
twelfth stanza of Gerhardt's Hymn :
Soil ich denn auch des Todes Weg
Und finst're Strasse reisen ;
Wohlan ! ich tret' auf > Bahn und Steg,
Den mir dein' Augen weisen.
Du bist mein Hirt,
Der Alles wird
Zu solchem Ende kehren,
Dass ich einmal
In deinem Saal
Dich ewig moge ehren ! B.G. xxii. 68.
Form. Simple (2 Ob. d'amare. Strings, Con-
tinuo'). Choralgesdnge, No. 347.
Cantata XCIII. Wer nur den lieben Gott
LASST WALTENl Fifth Sunday after Trinity
(? 1728)
A Choral Cantata', on Georg Neumark's con-
solatory Hymn, " Wer nur den lieben Gott " (see
Cantata 21). All its stanzas (seven) are introduced,
^ 164,7 so trat ich.
2 English versions of the Cantata are published by Novello & Co. ,
" If thou but suflferest God to guide thee," and Breitkopf & Haertel,
" He who relies on God's compassion."
' See p. 32 supra.
CANTATA XCIII 319
but in some cases are subjected to considerable
alteration.
As in Cantata 4, " Christ lag in Todesbanden,"
a single Choral melody, Georg Neumark's "Wer
nur den lieben Gott" (see Cantata 21), dominates
the present work. But its use is not restricted, as
in Cantata 4, to the regular Church Choral forms.
Certain numbers, for instance, the fourth and
seventh, present the melody clearly. Elsewhere it
serves merely as the " motive and incentive," with-
out being the positive cantus firmus^.
(a)
The words of the opening movement are the
first stanza of Neumark's Hymn :
Wer nur den lieben Gott lasst walten
Und hoffet auf ihn allezeit,
Den^ wird er' wunderlich erhalten
In allem Kreuz* und Traurigkeit.
Wer Gott, dam Allerhochsten, traut,
Der hat auf keinen Sand gebaut.
B.G. xxii. 71.
Form. Choral Fantasia (2 Ob., Strings, Con-
tinuoy.
' Spitta, 11. 439. ^ 1657 Der.
' 1657 Ihn. * 1657 aller Noht.
^ See Spitta, II. 439, on the form of this Chorus.
320 CANTATA XCIII
In the second movement the second stanza of
Neumark's Hymn, with important modifications of
two of its lines, is involved in the " madrigal " text
of the Recitativo :
Was helfen uns die schweren Sorgen?
Was hilft uns unser Weh und Ach ?
Was hilft es, dass wir alle Morgen
Es bringt nur bitt'res Ungemach^.
Wir machen unser Kreuz und Leid
Mit christlicher Gelassenheit^.
B.G. xxii. 83.
Form. " Recitativ und Choral " for Bass' {Con-
tinuoy.
{c)
The text of the third stanza of Neumark's Hymn
is dealt with very freely in the third movement.
The Bach-Picander stanza reads :
Man halte nur ein wenig stille,
Wenn sich die Kreuzes-Stunde naht,
Denn unsres Gottes Gnaden-Wille
Verlasst uns nie mit Rath und That.
Gott, der die .A.userwahhen kennt,
Gott, der sich uns ein Vater nennt,
Wird endlich alien Kummer wenden,
Und seinen Kindern Hiilfe senden.
B.G. xxii. 84.
' 1657 Besenftzen unser Ungemach.
^ 1657 Nur grosser durch die Traurigkeit.
* See p. 44 supra.
* See Spitta, 11. 438, on the form of this movement.
CANTATA XCIII 32 1
The actual text of Neumark's third stanza is as
follows :
Man halte nur ein wenig stille
Und sey doch in sich selbst vergniigt,
Wie unsres Gottes Gnadenwille,
Wie sein' AUwissenheit es fiigt.
Gott der uns Ihm hat auserwehlt,
Der weis auch sehr wohl, was uns fehlt.
Form. A Tenor Aria, suggested by the Choral
melody {Strings, Continuo).
id)
The words of the fourth movement are the
fourth stanza of Neumark's Hymn :
Er kennt die rechten Freudenstunden,
Er weiss wohl, wenn es niitzlich sei.
Wenn er uns nur hat treu erfunden
Und merket keine Heuchelei :
So kommt Gott, eh' wir's uns versehn,
Und lasset uns vial Gut's geschehn.
B.G. xxii. 87.
Form. " Arie (Duett) und Choral " for Soprano
and Alto. The Violins and Violas in unison have
the melody (Strings, Continudy
The Choral words of the fifth movement are the
fifth stanza of Neumark's Hymn :
Denk' nicht in deiner Drangsals-Hitze,
Dass du von Gott verlassen seist,
^ The movement is No. 3 of the Schiibler Chorals (N. xvi. 6).
T. B. C, 21
322 CANTATA XCIII
Dass dieser Gott' im Schoosse sitze,
Der sich mit stetem Gliicke speist.
Die Folgezeit verandert viel !
Und setzet Jeglichem sein Ziel.
B.C. xxii. go.
Form. " Recitativ und Choral " for Tenor {Con-
tinudy.
(/)
The text of the sixth movement deals very
freely with the sixth stanza of Neumark's Hymn.
Similarly, only fragments of the tune appear, the
fifth and sixth lines of the melody. The Bach-
Picander text is as follows :
Ich will auf den Herren schau'n,
. Und stets meinem Gott vertrau'n.
Er ist der rechte Wundersmann,
Der die Reichen arm und bloss,
Und die Armen reich und gross
Nach seinem Willen machen kann.
B.G. xxii. 91.
The actual text of Neumark's sixth stanza reads :
Es sind ja Gott sehr schlechte Sachen
Und ist dem Hochsten alles gleich,
Den Reichen klein und arm zu machen
Den Armen aber gross und reich.
Gott ist der rechte Wundermann,
Der bald erhohn, bald stiirtzen kaii.
Form. Soprano Aria, with fragments of the
melody {Oboe, Continuo).
■ l6j^ Und dass Gott der, ^ See p. 44 supra.
CANTATA XCIV 323
(^)
The words of the concluding Choral are the
seventh stanza of Neumark's Hymn :
Sing', bet' und geh' auf Gottes Wegen,
Verricht' das Deine nur getreu,
Und trau' des Himmels reichem Segen,
So wird er bei dir werden neu ;
Denn welcher seine Zuversicht
Auf Gott setzt, den verlasst er nicht.
B.G. xxii. 94.
Form. Simple (2 Ob., Strings, Continuo).
Choralgesange, No. 369.
Cantata XCIV. Was frag ich nach der
Welt. Ninth Sunday after Trinity (? 1735)
A Choral Cantata, on Georg Michael Pfeffer-
korn's Hymn, " Was frag ich nach der Welt " (see
Cantata 64).
The melody of the Choral movements is " Die
Wollust dieser Welt," or "O Gott, du frommer Gott"
(1679) (see Cantata 45).
{a)
The words of the opening movement are the
first stanza of Pfefferkorn's Hymn :
* Was frag ich nach der Welt
Und alien ihren Schatzen,
Wenn ich mich nur an dir,
Main Jesu, kann ergotzen !
Dich hab' ich einzig mir
324 CANTATA XCIV
Zur Wollust vorgestellt,
Denn du bist meine Ruh' :
Was frag ich nach der Welt !
B.G. xxii. 97.
Form. Choral Fantasia {Flauto, Strings, Organ,
Continuoy.
The Choral words of the third movement are
the third stanza of Pfefiferkorn's Hymn :
* Die Welt sucht Ehr' und Ruhm
Bei hoch erhab'nen Leuten.
Und denkt nicht einmal dran,
Wie bald doch diese gleiten !
Das aber, was mein Herz
Vor Anderm riihrnlich halt,
1st Jesus nur allein:
Was frag ich nach der Welt !
B.G. xxii. 107.
Form. " Recitativ und Choral " for Tenor (2 Ob.,
Organ, Continuoy.
The Choral words of the fifth movement are the
fifth stanza of Pfefierkorn's Hymn :
* Die Welt bekiimmert sich,
Im Fall sie wird verachtet,
Als wenn man ihr mit List
Nach ihren Ehren trachtet.
^ See Spitta, lii. 1 01, on the form of the movement.
* See p. 44 supra.
CANTATA XCIV 325
Ich trage Christi Schmach,
So lang es ihm gefallt.
Wenn mich mein Jesus ehrt :
Was frag ich nach der Welt !
B.G. xxii. 115.
Form. " Recitativ und Choral " for Bass {Organ
and Continuoy.
id)
The words of the concluding Choral are the
seventh and eighth stanzas of Pfefferkorn's Hymn:
* Was frag ich nach der Welt !
Im Hui muss sie verschwinden,
Ihr Ansehn kann durchaus
Den blassen Tod nicht binden.
Die Giiter miissen fort,
Und alle Lust verfallt ;
Bleibt Jesus nur bei mir:
Was frag ich nach der Welt !
* Was frag ich nach der Welt !
Mein Jesus ist mein Leben,
Mein Schatz, mein Eigenthum,
Dem ich mich ganz ergeben,
Mein ganzes Himmelreich,
Und was mir sonst gefallt.
Drum sag ich noch einmal :
Was frag ich nach der Welt !
B.G. xxii. 127.
Form. Simple {Flauto, 2 Ob., Strings, Organ,
Continue). Choralgesange, No. 281.
' See p. 44 supra.
326
CANTATA XCV
Cantata XCV. . Christus, der ist mein
Leben. Sixteenth Sunday after Trinity
(? 1732)
Melody : " Christus, der ist mein Leben "
Melchior Vulpius 1609
<^KtjJjJJf-Jr-f>JjJir(T
f-^rfJjjjji I
w
The first of the two Chorals in the opening
movement is the anonymous funerary Hymn,
" Christus, der ist mein Leben," the oldest accessible
form of which is in Melchior Vulpius' Ein schon
geistlich Gesangbuch (Jena, 1609), where it is set to
Vulpius' tune. It has been attributed both to
Simon Graf and Anna Countess of Stolberg.
The melody is not found elsewhere in the
Cantatas or Motetts or Oratorios. There are
harmonisations of it in the Choralgesdnge, Nos. 46,
47. Bach's treatment of the third line of the tune
follows the 1662 (Frankfort) edition of the Praxis
Pietatis Melica. His treatment of the last line
varies : sometimes he uses the 1609 form, and
sometimes {Qtoralgesdnge, No. 46) the 1662 form.
CANTATA XCV 327
The words are the first stanza of the Hymn :
Christus, der ist mein Leben,
Sterben ist mein Gewinn ;
Dem thu' ich mich ergeben,
Mit Freud' 1 fahr' ich dahin.
B.G. xxii. 131,
Translations of the Hymn are noted in the
Dictionary , of Hymnology, p. 233.
The words of the second Choral in the first
movement are the first stanza of Luther's Hymn,
"Mit Fried' und Freud' ich fahr' dahin." The
melody also is that of the Hymn (see .Cantata
83 for Hymn and melody) :
Mit Fried' und Freud' ich fahr' dahin
Nach2 Gottes Willen;
Getrost ist mir mein Herz und Sinn,
Sanft und stille.
Wie Gott mir verheissen hat:
Der Tod ist mein Schlaf worden.
B.G. xxii. 138.
Form. The two Choral (S.A.T.B.) sections,
Extended in form, are separated by ritornelli,
partly orchestral, partly vocal (Tenor Recitative)
(Corno, 2 06. d'amore, 2 Ob., Strings, Continuoy.
1 1609 Fried. ^ 1524 Ynn.
' See Spitta, 11. 462, and Schweitzer, II. 248, on the structure of
this funerary Cantata. The first movement may be placed also in
the Dialogus group.
328
CANTATA XCV
Melody : " Valet will ich dir geben ''
Melchior Teschner 1614
frjjjJrrrrrJVig
zat
f^^S
^
The Choral in the second movement is Valerius
Herberger's funerary Hymn, "Valet will ich dir
geben," first published, words and melody, as a
broadsheet at Leipzig in 1614^
The melody was composed by Melchior Teschner
and bears a close resemblance to the tune " Sellen-
ger's Round." There is another harmonisation of
it in the Choralgesdnge, No. 314. Early (1648)
authority exists for Bach's change of the third note
before the first double bar, and also (1668) for the
changed sixth note from the end of the tune.
" St John Passion," No. 28. Organ Works, N. xix.
2,7.
The words of the Choral are the first stanza
of the Hymn :
Valet will ich dir geben,
Du arge, falsche Welt,
Dein sundlich boses Leben
Durchaus mir nicht^ gefallt.
' See Bach's Chorals, Part I, pp. 34-35. ^ 1614 nichts.
CANTATA XCV 329
Im Himmel ist gut wohnen,
Hinauf steht mein' Begier,
Da wird Gott ewig' lohnen
Dem der^ ihm dient allhier.
B.G. xxii. 142.
Translations of the Hymn into English are
noted in the Dictionary of Hymnology, p. 511.
Form. " Recitativ und Choral " for Soprano.
The Unison Choral follows a short Recitativo of
twelve bars (2 Ob. d'amore (urns.), Continud).
The melody and words of the concluding
Choral are those of Nicolaus Herman's funerary
Hymn, "Wenn mein Stundlein vorhanden ist"
(see Cantata 15). The words are the fourth
stanza of the Hymn :
Weil du vom Tod erstanden bist,
Werd' ich im Grab nicht bleiben ;
Dein letztes Wort mein'^ Auffahrt ist,
Tod'sfurcht kannst du * vertreiben :
Denn wo du bist, da komm' ich hin,
Dass ich stets bei dir leb' und bin.
Drum fahr' ich hin mit Freuden !
B.G. xxii. 153.
Form. Embellished {Coma, 2 Ob. d'amore,
Strings, Continuo). Choralgesdnge, No. 356.
' 1614 ehrlich. ^ 1614 wer.
^ 1562 Mein hochster trost dein. ■* 1562 sie.
330 CANTATA XCVI
<jl^
Cantata XCVI. Herr Christ, der ein'ge
GoTTES-SOHN. Eighteenth Sunday after
Trinity {c. 1740)
A Choral Cantata, on Elisabethe Cruciger's
Christmas Hymn, " Herr Christ, der einig' Gott's
Sohn" (see Cantata 22).
The melody of the opening and concluding
movements is that of the Hymn (see Cantata 22).
{a)
The words of the opening movement are the
first stanza of the Hymn :
Herr Christ, der ein'ge Gottes Sohn,
Vaters in Ewigkeit,
Aus seinem Herzen entsprossen,
Gleich wie geschrieben steht.
Er ist der Morgensterne,
Sein'n Glanz streckt er so feme
Vor andern Sternen klar. B.G. xxii. 157.
Forvf. Choral Fantasia {Corno, Trombone,Flauto
piccolo, 2 Ob., Strings, Continuo). The cantus firmus
is with the Altos.
iP)
The words of the concluding Choral are the
fifth stanza of the Hymn :
Ertodt' uns durch dein' Giite,
Erweck' uns durch dein' Gnad' ;
Den alten Menschen kranke,
Dass der neu' leben mag,
CANTATA XCVII 33 1
Wohl hier auf dieser Erden
Den Sinn und all' Begehrden
Und G'danken* hab'n zu dir. B.G. xxii. 184.
Form. Simple {Corno, 2 Ob., Strings, Continuo).
Choralgesdnge, No. 128.
Cantata XCVII. In allen meinen Thaten
(1734')
A Choral Cantata, on Paul Flemming's Hymn,
" In allen meinen Thaten" (see Cantata 13).
The melody of the two Choral movements of
the Cantata is Heinrich Isaak's " O Welt, ich muss
dich lassen" (see Cantata 13), styled in the B.G.
Score " Nun ruhen alle Walder." The latter (Paul
Gerhard t's) Hymn was first published in 1647,
with the direction : " Nach der Melod. O Welt,
ich muss dich lassen." Isaak's melody has been
attached to Johann Hesse's "O Welt" since 1598^
From 1670, at least, the tune is associated with
Paul Flemming's "In alien meinen Thaten."
{a)
The words of the opening movement are the
first stanza of Paul Flemming's Hymn :
1 1524 dancken.
^ Every movement of the Cantata is a stanza of the Hymn. The
Score does not indicate the occasion for which the Cantata was
written. Schweitzer, II. 242 n., conjectures that it was used for
a wedding.
3 See BacKs Chorals, Part I, 5.
332 CANTATA XCVIII
In alien meinen Thaten
Lass' ich den Hochsten rathen,
Der AUes kann und hat ;
Er muss zu alien Dingen,
Soil's anders wohl gelingen,
Selbst geben Rath und That.
B.G. xxii. 187.
Form. Choral Fantasia (2 Ob., Fagotti, Strings
(including Violone), Organ).
{b)
The words of the concluding Choral are the
fifteenth stanza of Flemming's Hymn :
So sei nun, Seele, deine,
Und traue dam alleine,
Der dich erschaffen^ hat.
Es gehe, wie es gehe:
Mein^ Vater in der Hohe
Weiss alien Sachen Rath.
B.G. xxii. 230.
Form. Embellished (2 Ob., Strings, Organ,
Continuo). Choralgesdnge, No. 297.
Cantata XCVIII. Was Gott thut, das ist
WOHLGETHAN. Twenty-first Sunday after
Trinity (c. 1732)
The words and melody of the opening move-
ment are from Samuel Rodigast's Hymn, " Was
' 1642 geschafTen. ' 1641 Dein.
CANTATA XCIX 333
Gott thut, das ist wohlgethan" (see Cantata 12).
The words are the firststanza of the Hymn :
Was Gott thut, das ist wohlgethan,
Es bleibt gerecht sein Wille ;
Wie er fangt meine' Sachen an
Will ich ihm halten stille.
Er ist mein Gott, der in der Noth
Mich wohl weiss zu erhalten :
Drum lass' ich ihn nur walten. B.G. xxii. 233.
Form. Choral Fantasia (2 Ob., Taille^, Strings,
Continud).
Cantata XCIX. Was Gott thut, das ist
WOHLGETHAN. Fifteenth Sunday after Trinity
{c. 1733)
A Choral Cantata', on Samuel Rodigast's Hymn,
" Was Gott thut, das ist wohlgethan." The melody
of the first and last movements is that of the
Hymn (see Cantata 12).
(a)
The words of the first movement are the first
stanza of the Hymn :
Was Gott thut, das ist wohlgethan,
Es bleibt gerecht sein Wille ;
Wie er fangt meine^ Sachen an
Will ich ihm halten stille.
Er ist mein Gott, der in der Noth
Mich wohl weiss zu erhalten :
Drum lass' ich ihn nur walten. B.G. xxii. 2J3.
' 1676 seine. ^ The Taille was a Tenor Bassoon.
' See p. 32 supra.
334 CANTATA C
Form. Choral Fantasia {Corno, Flauto, Oboe
d' amove. Strings, Continuo).
The words of the concluding Choral are the
sixth stanza of the Hymn :
Was Gott thut, das ist wohlgethan,
Dabei will ich verbleiben ;
Es mag mich auf die rauhe Bahn
Noth, Tod und Elend treiben :
So wird Gott mich ganz vaterlich
In seinen Armeti halten :
Drum lass' ich ihn nur walten.
B.G. xxii. 276.
Form. Simple {Como, Flauto, Oboe d' amove,
Strings, Continuo). Choralgesdnge, No. 341.
Cantata C. Was Gott thut, das ist wohl-
gethan (c. 173s)'
A Choral Cantata, on Samuel Rodigast's Hymn,
" Was Gott thut, das ist wohlgethan." The melody
of the first and last movements is that of the Hymn
(see Cantata 12).
' The Score does not indicate the occasion for which the Cantata
was composed. Wustmann, p. 177, assigns it to the Fifteenth
Sunday after Trinity (cf. No. 99). Schweitzer, 11. 242 n., con-
jectures that Bach used it as a Wedding Cantata, and dates it
in the early thirties. Spitta, II. 460, puts it t. 1735 or 1736.
Wustmann marks it "um 1735." Every movement of the Cantata
is a stanza of the Hymn.
CANTATA C 335
(a)
The words of the first movement are the first
stanza of the Hymn :
Was Gott thut, das ist wohlgethan,
Es bleibt gerecht sein Wille ;
Wie er fangt meine^ Sachen an
Will ich ihm halten stille.
Er ist mein Gott, der in der Noth
Mich wohl weiss zu erhalten :
Drum lass' ich ihn nur walten.
B.G. xxii. 279.
Form. Choral Fantasia (2 Cor., Timpani,
Flauto, Oboe d'amore. Strings, Organ, Continuo).
ib)
The words of the concluding Choral are the
sixth stanza of the Hymn :
Was Gott thut, das ist wohlgethan,
Dabei will ich verbleiben ;
Es mag mich auf die rauhe Bahn
Noth, Tod und Elend treiben :
So wird Gott mich ganz vaterlich
In seinen Armen halten :
Drum lass' ich ihn nur walten.
B.G. xxii. 323.
Form. Extended (2 Cor., Timpani, Flauto,
Ob. d'amore. Strings, Organ, Continuo).
' 1676 seine.
336 CANTATA CI
Cantata CI. Nimm von uns, Herr, du treuer
GOTT. Tenth Sunday after Trinity {c. 1740)
A Choral Cantata, on Georg Moller's Hymn,
"Nimm von uns, Herr, du treuer Gott" (see
Cantata 90).
As in Cantatas 4 and 93, where Bach employs
a single Hymn as his text, this also is dominated
by one melody throughout its Choral movements,
the anonymous "Vater unser im Himmelreich"
(see Cantata 90).
(«)
The words of the opening movement are the
first stanza of Moller's Hymn :
Nimm von uns, Herr, du treuer Gott,
Die schwere Straf und grosse Noth',
Die wir mit Sunden ohne Zahl
Verdienet haben allzumal.
Behiit' vor Krieg und theurer Zeit,
Vor Seuchen, Feu'r und grossem Leid.
B.G. xxiii. 3.
Form. Choral Fantasia {Cornetto, 3 Trombones,
Flauto, 2 Ob., Taille^, Strings, Continue^).
1 1584 Ruth.
2 The Taille was a Tenor Bassoon.
* A suggestion of the melody will be noticed in bars 18-21 of
the accompaniment in the second movement.
CANTATA CI 337
The Choral words of the third movement are
the third stanza of the Hymn :
Ach ! Herr Gott, durch die Treue dein
Mit Trost und Rettung uns erschein !
Beweis' an uns deine grosse Gnad',
Und straf uns nicht auf frischer That.
Wohn' uns mit deiner Giite bei,
Dein Zorn und Grimm fern von uns sei.
E.G. xxiii. 19.
Form. " Recitativ und Choral " for Soprano
{Continuoy.
The words of the fourth movement are a para-
phrase of the fourth stanza of Moller's Hymn :
Warum willst du so zornig sein ?
Es schlagen deines Eifers Flammen
Schon iiber unserm Haupt zusammen.
Ach, stelle doch die Strafen ein,
Und trag' aus vaterlicher Huld
Mit unserm schwachen Fleisch Geduld.
E.G. xxiii. 21.
The actual text of Moller's fourth stanza is as
follows :
Warumb wiltu doch zornig sein
Uber uns arme Wurmelein ?
Weistu doch wol, du grosser Gott,
Das wir nichts sind denn Erd uii kot.
Es ist ja fiir deim Angesicht
Unser schwacheit verborgen nicht.
' See p. 44 supra.
T. B. C. 32
338 CANTATA CI
Form. A Bass Aria, with snatches of the
melody (2 Ob., Taille, Continuoy.
id)
The Choral words of the fifth movement are the
fifth stanza of Moller's Hymn :
Die Siind' hat uns verderbet sehr;
Der Teufel plagt uns noch viel mehr.
Die Welt, auch^ unser Fleisch und Blut
Uns allezeit verfiihren thut.
Solch' Elend kennst du, Herr, allein :
Ach, lass' uns dir befohlen sein !'
B.G. xxiii. 25.
Form. " Recitativ und Choral " for Tenor {Con-
(e)
The words of the sixth movement are a para-
phrase of the sixth stanza of Moller's Hymn :
Gedenk' an Jesu bittern Tod,
Nimm, Vater, deines Sohnes Schmerzen
Und seiner Wunden Pein zu Herzen :
Sie' sind ja fiir die ganze Welt
Die Zahlung und das Losegeld ;
Erzeig" auch mir zu aller Zeit,
Barmherz'ger Gott, Barmherzigkeit.
Ich seufze stets in meiner Noth.
Gedenk' an Jesu bittern Tod.
B.G. xxiii. 27.
' See Spitta, in. 97-98, upon the Arie-Choral movement.
' 1584 und.
^ 1584 Ach lass as dir zu Hertzen gehn !
■* See p. 44 su^rn. " Bach's MS. Dj?,
CANTATA CII 339
The actual text of MoUer's sixth stanza is as
follows :
Gedenck an deins Sohns bittern Todt,
Sih an sein heilig Wunden roth :
Die sind ja fiir die gantze Welt
Die Zalung und das Losegeldt :
Des trosten wir uns allezeit
Und hoffen aufF Barmherzigkeit.
Form. " Arie (Duett) " for Soprano and Alto,
" mit Benutzung der Choral-Melodic " (JFlauto, Ob.
da caccia, Continuo).
(/)
The words of the concluding Choral are the
seventh stanza of Moller's Hymn :
Leit' uns mit deiner rechten Hand
Und segne unsre Stadt und Land ;
Gieb uns allzeit dein heil'ges Wort,
Behiit' vor's Teufels List und Mord.
Verleih' ein sel'ges Stiindelein,
Auf dass wir ewig bei dir sein !
E.G. xxiii. 32.
Form. Embellished {Cornetto, 3 Trombones,
Flauto, 2 Ob., Taille, Strings, Continuo). Choral-
gesdnge. No. 318.
Cantata CII. Herr, deine Augen sehen
NACH DEM Glauben. Tenth Sunday after
Trinity (? 1731)
The melody of the concluding Choral is the
anonymous " Vater unser im Himmelreich " (see
Cantata 90).
?2— ?
340 CANTATA CIII
The words of the Choral are the sixth and
seventh stanzas of Johann Heermann's Lenten
Hymn, " So wahr ich lebe, spricht dein Gott," first
published in his Devoti Musica Cordis (Leipzig,
1630), to the melody "Vater unser" {supra):
Heut' lebst du, heut' bekehre dich !
Eh' morgen kommt, kann's andern sich :
Wer heut' ist frisch, gesund und roth,
1st morgen krank, ja wohl gar todt.
So du nun stirbest ohne Buss',
Dein Leib und Seel'' dort brennen muss.
Hilf, O Herr Jesu, hilf du mir,
Dass ich noch heute komm' zu dir
Und Busse thu' den Augenblick,
Eh' mich der schnelle Tod hinriick' :
Auf dass ich heut' und jederzeit
Zu meiner Heimfahrt sei bereit. E.G. xxiii. 66.
Translations of the Hymn are noted in the
Dictionary of Hymnology, p. 1065.
Form. Simple {Flauto, 2 Ob., Strings, Con-
tinuo). Choralgesdnge, No. 320.
Cantata CHI. Ihr werdet weinen und
HEULEN. Third Sunday after Easter ("Jubi-
late") (.?I73S)
The melody of the concluding Choral is the
anonymous " Was mein Gott will, das g'scheh'
allzeit" (see Cantata 65).
' 1630 Seel und Leib,
CANTATA CIV 341
The words of the concluding Choral are the
ninth stanza of Paul Gerhardt's Hymn, "Barni-
herzger Vater, hochster Gott," first published in
the Berlin (1653) edition ofjohann Criiger's
Praxis Pietatis Melica, to the melody " Durch
Adams Fall ist ganz verderbt," to which it is
generally set in the Hymn books :
Ich hab' dich einen Augenblick,
O liebes Kind, verlassen ;
Sieh' aber, sieh' mit grossem Gliick
Und Trost ohn' alle Maassen
Will ich dir schon
Die Freuden-Kron'
Aufsetzen und verehren,
Dein kurzes Leid
Soil sieh in Freud'
Und ewig WohF verkehren.
B.G. xxiii. 94.
Form. Simple (Tromba, Flauto, 2 Ob. damore.
Strings, Continuo). Choralgesdnge, No. 348.
Cantata CIV. Du Hirte Israel, hore=-
Second Sunday after Easter (" Misericordias
Domini") {c. 1725)
The melody of the concluding Choral is Nicolaus
Decius' " Allein Gott in der Hoh' sei Ehr' " (see
Cantata 85).
' 1653 ewges heyl.
^ An English version of the Cantata, "Thou Guide of Israel,"
is published by Novello & Co.
342 CANTATA CV
The words of the Choral are the first stanza of
Corneh'us Becker's Hymn, " Der Herr ist mein
getreuer Hirt" (see Cantata 85):
Der Herr ist mein getreuer Hirt,
Dem ich mich ganz vertraue ;
Zur Weid' er mich, sein Schaflein, fiihrt,
Auf schoner, griiner Aue :
Zum frischen Wasser leit't er mich,
Mein' Seel' zu laben kraftiglich
Durch's sel'ge Wort der Gnaden. B.G. xxiii. 116.
Form. Embellished (2 Ob., Taille^, Strings,
Continud). Choralgesdnge, No. 13.
Cantata CV. Herr, gehe nicht in's Gericht.
Ninth Sunday after Trinity (c. 1725)
The melody of the concluding Choral is the
anonymous " Wachet, doch, erwacht, ihr Schlafer "
(see Cantata 78);
The words of the Choral are the eleventh stanza
of Johann Rist's Lenten Hymn, "Jesu, der du
meine Seele" (see Cantata 78):
Nun, ich weiss, du wirst mir stillen
Mein Gewissen, das mich plagt.
Es wird deine Treu' erfuUen,
Was du selber hast gesagt :
Dass auf dieser weiten Erden
Keiner solP verloren werden,
Sondern ewig leben soil,
Wenn er nur ist glaubensvoU. B.G. xxiii. 144.
Form. Extended(2 Corm,20b., Viola^, Continuo).
' The Taille was a Tenor Bassoon.
" 1641 je. * See Spitta, II. 426.
CANTATA CVI
343
Cantata CVI. Gottes Zeit ist die aller-
BESTE Zeit^ " Actus Tragicus^" (171 1)
Melody: '■'• Ich weiss mir ein Roslein hubsch und fein"
Anon. 1589
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• English versions of the Cantata are published by Novello &
Co., " God's time is the best," and Breitkopf & Haertel, " God's
time is best."
2 Spitta, I. 456, suggests that the Cantata was written for the
funeral of Philipp Grossgebauer, Rector of the school at Weimar, in
1711. Schweitzer, 11. 125, conjectures that the libretto was written
by Bach himself.
344
CANTATA CVI
Melody: " Ich haV mein Sack' Gott heimgestellt"
Anon. 1609
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(a)
Into the opening movement Bach introduces a
melody which he has not employed elsewhere in
the Cantatas, Motetts, or Oratorios. It is found in
Johann Rhau's Gesangbuch (Frankfort a. Main, 1 589)
as the Tenor in a four-part setting of the secular
song, " Ich weiss mir ein Roslein hiibsch und fein,"
and becomes the melody of the Hymn " Ich hab'
mein Sach' Gott heimgestellt" in Melchior Vulpius'
Ein schon geistlich Gesangbuch Qena, 1609). Bach
uses it in the orchestral accompaniment of this
movement. The first line of the melody is identical
with the 1565 tune, "Warum betriibst du" (see
Cantata 47). The 1589 descant melody was
appropriated to the same Hymn in 1598 and is
used by Bach in Choralgesdnge, No. 1 82 ; Organ
Works, N. xviii. 54, 58.
CANTATA CVI 345
The words and melody of the Choral in the
third movement are from Luther's version of the
" Nunc Dimittis," " Mit Fried' und Freud' ich fahr'
dahin " (see Cantata 83). The words are the first
stanza of the Hymn :
Mit Fried' und Freud' ich fahr' dahin
In Gottes Willen ;
Getrost ist mir mein Herz und Sinn,
Sanft und stille.
Wie Gott mir verheissen hat ;
Der Tod ist mein Schlaf worden. B.G. xxiii. 166.
Form. A Dialogus for Alto and Bass, the Alto
having the melody (2 Viole da gamba, Continuo).
The melody of the concluding Choral is Seth
Calvisius' "In dich hab' ich gehoffet, Herr" (see
Cantata 52).
The words are the seventh stanza of Adam
Reissner's Hymn, " In dich hab' ich gehoffet, Herr "
(see Cantata 52) :
Glorie, Lob, Ehr" und Herrlichkeit
Sei dir, Gott Vater' und Sohn bereit,
Dem heil'gen Geist mit Namen !
Die gottlich' Kraft
Mach' uns sieghaft
Durch Jesum Christum. Amen. B.G. xxiii. 173.
Form. Choral Fantasia (2 PL, 2 Viole da gamba,
Continuoy.
' 1533 Sei Gott vatern.
^ See Spitta, I. 463, on the movement.
346
CANTATA CVII
,-Cantata CVII. Was willst du dich be-
TRUBEN. Seventh Sunday after Trinity (1735)
Melody: " Was willst du dich betriiben" Anon. 1704
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A Choral Cantata, on Johann Heermann's Hymn,
" Was willst du dich betriiben," first published, to
the melody, " Von Gott will ich nicht lassen," in his
Devoti Musica Cisiyrfw (Leipzig, 1630). In Freyling-
hausen's Gesangbtich (1704 [1703]) the Hymn is set
to a tune obviously derived from that melody.
Bach uses the latter in the first and last movements
of the Cantata (see Cantata 11).
(«)
The words of the opening movement are the
first stanza of Heermann's Hymn :
Was willst du dich betriiben,
O meine liebe Seel'?
Ergieb dich den zu lieben*,
Der heisst Immanuel ;
1630 Thu den nur hertzlich lieben.
CANTATA CVII 347
Vertraue* ihm allein :
Er wird gut AUes machen
Und fordern^ deine Sachen,
Wie dii^s wird selig sein. B.G. xxiii. 181.
Form. Choral Fantasia (Corno da caccia, 2 FL,
2 Ob. (£amore, Strings, Organ, Continud).
The words of the closing Choral are the four-
teenth stanza of David Denicke's (?) Hymn, " Ich
will zu aller Stunde," first published in the New
Ordentlich Gesang-Buch (Hanover, 1646), and set
there, as here, to the tune " Von Gott will ich nicht
lassen" (see Cantata ii)' :
Herr, gieb das ich dein' Ehre
Ja all' mein Leben lang
Von Herzengrund vermehre,
Dir sage Lob und Dank.
O Vater, Sohn und Geist !
Der du aus lauter Gnaden
Abwendest Noth und Schaden,
Sei immerdar gepreist.
B.G. xxiii. 200.
Form,. Extended {Corno da caccia, 2 FL, 2 Ob.
d'amore. Strings, Organ, Continuo).
• 1630 Vertraw dich. ^ 1630 fodern.
* The preceding movements are set to the six stanzas of
Heermann's Hymn. The addition of an alien stanza is irregular.
348 CANTATA CVIII
Cantata CVIII. Es ist euch gut, dass ich
HINGEHE. Fourth Sunday after Easter ("Can-
tata ") (?i73S)
The melody of the concluding Choral is the
anonymous "Kommt her zu mir, spricht Gottes
Sohn" (see Cantata 74).
The words of the Choral are the tenth stanza of
Paul Gerhardt's Hymn, " Gott Vater, sende deinen
Geist" (see Cantata 74). The stanza appeared
first in a new version of the Hymn in Gerhardt's
Geistliche Andachten (Berlin, 1667):
Dein Geist, den Gott vom Himmel giebt,
Der leitet AUes, was ihn liebt,
Auf wohlgebahnten Wegen.
Er setzt und richtet unsern Fuss,
Dass er nicht anders treten muss,
Als wo man find't den Segen.
B.G. xxiii. 230.
Form. Simple (2 Ob. d!amore, Strings, Con-
tinuo). Ckoralgesdnge, No. 224.
Cantata CIX. Ich glaube, lieber Herr, hilf
MEINEM Unglauben. Twenty-first Sunday
after Trinity (c. 173 1)
The melody and words of the concluding Choral
are Lazarus Spengler's " Durch Adams Fall ist ganz
verderbt" (see Cantata 18).
CANTATA CX 349
The words are the seventh stanza of Spengler's
Hymn :
Wer hofft in Gott und dem vertraut,
Der wird nimmer> zu Schanden :
Denn wer auf diesen Felsen baut,
Ob ihm gleich geht zu Handen
Viel Unfalls hie :
Hab' ich doch nie
Den Menschen sehen fallen,
Der sich verlasst
Auf Gottes Trost ;
Er hilft sein'n Glaub'gen alien. B.G. xxiii. 255.
Form. Choral Fantasia {Corno da caccia, 2 Ob.,
Strings, Continud).
Cantata CX. Unser Mund sei voll Lachens.
Christmas Day^ (c. or after 1734)
The words and melody of the concluding Choral
are from Caspar Fuger's Christmas Hymn, "Wir
Christenleut' " (see Cantata 40).
The words are the fifth stanza of Fuger's Hymn :
AUeluja !
Gelobt sei Gott' !
Singen wir AH' aus unsers Herzens Grunde ;
Denn Gott hat heut'
Gemacht solch' Freud',
Der wir vergessen soU'n zu keiner Stunde.
B.G. xxiii. 324.
' 1524 wurdet nicht.
^ See Spitta (ill. 78) on this Cantata. It is partly constructed
out of the Overture of an Orchestral Suite (D major). See Can-
tatas 49, 146, 169, 174, 188 for other instances of the same process,
s 1592 Alleluia. Bach's line follows Martin Fritzsch's Dresden
Gesangbach of 1593.
350 CANTATA CXI
Form. Simple ( Tromba, 2 Fl., 2 Ob., Oboe da
caccia. Strings, Organ, Continuo). Choralgesange,
No. 380.
Cantata CXI. Was mein Gott will, das
g'scheh' ALLZEIT. Third Sunday after the
Epiphany {c. 1740)
A Choral Cantata, on Albrecht Margrave of
Brandenburg-Culmbach's Hymn, " Was main Gott
will, das g'scheh' allzeit " (see Cantata 72).
The melody of the opening and concluding
movements is that of the Margrave's Hymn (see
Cantata 65).
{a)
The words of the opening movement are the
first stanza of the Hymn :
Was mein Gott will, das g'scheh' allzeit,
Sein Will' der ist der baste' ;
Zu helfen den'n er ist bereit,
Die an ihn glauben feste.
Er hilft aus Noth,
Der fromme Gott,
Und ziichtiget^ mit Maassen :
Wer Gott vertraut,
Fest auf ihn baut,
Den will er nicht verlassen. B.G. xxiv. 3.
Form. Choral Fantasia' (2 Ob., Strings, Con-
tinuo).
1 t. 1554 aller beste. ^ c. 1554 Er trost die Welt.
' Bach here combines the Choral Fantasia and instrumental
Concerto forms. See Spitta, iii. 103.
CANTATA CXII 35 1
The words of the concluding Choral are the
fourth stanza of the Hymn :
Noch eins, Herr, will ich bitten dich,
Du wirst mir's nicht versagen :
Wann mich der bose Geist anficht,
Lass' mich doch* nicht verzagen !
Hilf, steur' und wehr'^,
Ach Gott, mein Herr,
Zu Ehren deinem Namen.
Wer das begehrt,
Dem wird's gewahrt ;
Drauf sprech' ich frohlich : Amen !
B.G. xxiv. 28.
Form. Simple (2 Ob., Strings, Continud),
Choralgesange, No. 345.
Cantata CXII. Der Herr ist mein ge-
TREUER HiRT'. Second Sunday after Easter
(" Misericordias Domini") {c. 1731)
A Choral Cantata, on Wolfgang Mteusel's (Mus-
culus) version of Psalm xxiii, " Der Herr ist mein
getreuer Hirt," first published in the Augsburg
Gesangbuch of 1530 or 1531, and again in the
edition of 1533.
Meusel was born at Dieuze, in Lorraine, in 1497.
In 1 5 12 he entered the Benedictine monastery at
1 c. 1554 Herr. ^ c. 1554 Hillf unnd auch wehr.
8 An English version of the Cantata, "The Lord is my Shep-
herd," is published by Novello & Co. Every movement of the
Cantata is a stanza of the Hymn.
3S2 CANTATA CXII
Lixheim, near Saarburg. He embraced Luther-
anism, and in 1537 became chief pastor of the
Cathedral Church of Augsburg. In 1549 he settled
at Bern as Professor of Theology, and died there
in 1563.
The melody of the opening and concluding
movements is Nicolaus Decius' " Allein Gott in
der Hoh' sei Ehr'" (see Cantata 85), to which
Meusel's Hymn generally was sung.
(a)
The words of the opening movement are the
first stanza of Meusel's Hymn :
Der Herr ist mein getreuer^ Hirt,
Halt mich in seiner Hute,
Darin mir gar nichts mangeln wird
Irgend an einem Gute.
Er weidet mich ohn' Unterlass,
Darauf wachst das wohlschmeckend' Gras
Seines heilsamen Wortes. B.G. xxiv. 31.
Translations of the Hymn into English are
noted in the Dictionary of Hymnology, p. 732.
Form. Choral Fantasia (2 Cor., 2 Ob. d'amore.
Strings, Continuo).
The words of the concluding Choral are the
fifth stanza of Meusel's Hymn :
' 1533 Der Herre ist mein trewer.
CANTATA CXIII 353
Gutes und die Barmherzigkeit
Folgen' mir nach im Leben,
Und ich werd' bleiben allezeit
Im Haus des Herren eben :
Auf Erd' in christlicher^ Gemein'
Und nach dem Tod da^ werd' ich sein
Bei Christo, meinem Herren.
E.G. xxiv. 48.
Form. Embellished (2 Cor., 2 Ob. d'amore,
Strings, Continue'). Choralgesdnge, No. 14.
Cantata CXIII. Herr Jesu Christ, du
HOCHSTES Gut. Eleventh Sunday after
Trinity {c. 1740)
A Choral Cantata, on Bartholomaus Ringwaldt's
Lenten Hymn, " Herr Jesu Christ, du hochstes
Gut," published in his Christliche Warnung des
Trewen Eckarts (Frankfort a. Oder, 1588).
Ringwaldt was born at Frankfort a. Oder in
1532. In 1566 he became pastor at Langfeld, or
Langenfeld, near Sonnenburg, in Brandenburg, and
died there c. 1600. He was one of the most prolific
Hymn writers of the sixteenth century.
The melody, which Bach uses directly or by
suggestion throughout the Cantata, is that usually
associated with Ringwaldt's Hymn (see Cantata
48).
1 1533 lauffen. ^ jjjj jgr Christlichen. ^ 1533 Tode.
T, B. C. 23
354 CANTATA CXIII
{a)
The words of the first movement are the first
stanza of Ringwaldt's Hymn :
Herr Jesu Christ, du hochstes Gut,
Du Brunnquell aller Gnaden',
Sieh' doch, wie ich in meinem Muth
Mit Schmerzen bin beladen,
Und in mir hab' der Pfeile viel,
Die im Gewissen ohne Ziel
Mich armen Siinder driicken. B.G. xxiv. 51.
English translations of the Hymn are noted in
the Dictionary of Hymnology, p. 962.
Form. Choral Fantasia (2 Ob.,Strings,Continuo\
The melody is treated freely^.
The words of the second movement are the
second stanza of the Hymn :
Erbarm' dich mein in solcher Last,
Nimm sie aus meinem Herzen,
Dieweil du sie gebiisset hast
Am Holz mit' Todesschmerzen :
Auf dass ich nicht fur grossem Weh'
In meinen Siinden untergeh',
Noch* ewiglich verzage^ B.G. xxiv. 59.
Form. An Alto Unison Choral (" Violini all'
unisono" Continue).
' 1588 der Genaden.
^ Bach here combines the Choral Fantasia and instrumental
Concerto forms. See Spitta, HI. 103.
» if88 im. * 1588 Und. ^ 1588 vorzage.
CANTATA CXIII 355
The Choral words of the fourth movement are
the fourth stanza of the Hymn :
Jedoch' dein heilsam Wort, das macht
Mit seinem siissen Singen,
Dass mir das Herze wieder lacht,
Als wenn's^ begunnt' zu springen.
Dieweil Gott^ alle Gnad' verheisst,
Wenn wir nur* mit zerknirschtem Geist
Zu unserm Jesu* kommen. B.G. xxiv. 67.
Form. "Recitativ" and Choral for Bass^{Con-
tinuo'').
The words of the seventh movement are a para-
phrase of the seventh stanza of the Hymn :
Ach Herr, mein Geist, vergieb mir's doch,
Womit ich deinen Zorn erreget,
Zerbrich das schwere Siindenjoch,
Das mir der Satan auferleget,
Dass sicli mein Herz zufrieden gebe
Und dir zum Preis und Ruhm hinfort
Nach deinem Wort in kindlichem Gehorsam lebe.
B.G. xxiv. 76.
1 1588 Aber. « 1588 Und was. ' 1588 es.
* 1588 Denen die. ^ iggg Zn dir, 6 Jesu.
* See p. 44 supra.
' In the fifth movement (B.G. xxiv. 69) the Tenor Aria, " Jesus
nimmt die Siinder an," the last line of the melody is brought forward
prominently each time to the words, " dein' Siind' ist dir vergeben."
This seems to be the only instance of Bach's setting a Choral melody
to new words. See Spitta, m. 96.
23—2
356 CANTATA CXIII
The actual text of the seventh stanza is as
follows :
O Herr, vejrgib, vergib mir's doch
Umb deines Namens willen,
Und thu in mir das schwere joch
Der ubertrettung stillen,
Das sich mein Hertz zu frieden geb
Und dir hinfort zu Ehren leb
Mit Kindtlichem gehorsam.
Form. An "Arie (Duett)" for Soprano and Alto,
built upon the first and last lines of the melody
{Continuo).
The words of the concluding Choral are the
eighth stanza of Ringwaldt's Hymn :
Stark' mich mit deinem Freudengeist,
Heil' mich mit deinen Wunden ;
Wasch' mich mit deinem Todesschweiss
In meiner letzten Stunden ;
Und nimm mich einst, wann dir's gefaUt,
Im wahren^ Glauben von der Welt
Zu deinen Auserwahlten.
B.G. xxiv. 80.
Form. Simple^ Choralgesdnge, No. 142.
' 1588 rechten.
^ The orchestration is npt indicated, and there is no Continuo
part.
CANTATA CXIV 357
Cantata CXIV. Ach, lieben Christen, seid
GETROST. Seventeenth Sunday after Trinity
(c. 1740)
A Choral Cantata, on Johannes Gigas', or
Heune's, Hymri," Ach, lieben Christen, seid getrost,"
first published, in a collection of Geistliche Lieder
(Frankfort a. Oder, 1561).
Johannes G. Gigas was born at Nordhausen in
1514. In 1543 he was appointed first Rector of
the Fiirstlichen Land-Schule at Pforta, and later
served as pastor at Freystadt and Schweidnitz.
He died at the latter place in 1581.
The melody which Bach uses throughout the
Choral movements is the anonymous " Wo Gott
der Herr nicht bei uns halt" (see Cantata 73), to
which the Hymn was set in 1561.
{a)
The words of the first movement are the first
stanza of Gigas' Hymn :
Ach, lieben Christen, seid getrost ;
Wie thut ihr so verzagen
Weil uns der Herr heimsuchen thut?
Lasst uns von Herzen sagen :
Die Straf wir wohl verdienet ha'n,
Solch's muss bekennen' Jedermann,
Niemand darf sich ausschliessen.
B.G. xxiv. 83.
Form. Choral Fantasia (Corno, 2 Ob., Strings,
Continuo).
1 1 56 1 Solches bekenn ein.
358 CANTATA CXIV
(6)
The words of the fourth movement are the third
stanza of Gigas' Hymn :
Kein' Frucht das Weizen-Kornlein bringt,
Es fair denn in die Erden ;
So muss auch unser ird'scher Leib
Zu Staub und Aschen werden,
Eh' er kommt zu der Herrlichkeit,
Die du, Herr Christ, uns hast bereit't
Durch deinen Gang zum Vater.
B.G. xxiv. loi.
Form. A Soprano Unison Choral {Continuo).
The words of the concluding Choral are the
sixth stanza of Gigas' Hymn :
Wir wachen' oder schlafen ein,
So sind wir doch^ des Herren ;
Auf Christum wir getaufet sein,
Der kann dem Satan wehren.
Durch Adam auf uns kommt der Tod,
Christus hilft uns aus aller Noth,
Drum loben wir den Herren.
B.G. xxiv. 1 08.
Form. Simple {Corno, 2 Ob., Strings, Conttnuo).
Choralgesdnge, No. 386.
' 1561 Wie warten hie. ' 1561 Sind wir doch ja.
CANTATA CXV
3S9
Cantata CXV. Mache dich, mein Geist,
BEREIT^- Tv(renty-second Sunday after Trinity
(c. 1740)
Melody. '■'• Straf mich nicht in deinem Zorn'"
Anon. 1694
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A Choral Cantata, on Johann Burchard Frey-
stein's Hymn, " Mache dich, mein Geist, bereit,"
first published in the Halle Geistreiches Gesang-
Buch (1698).
Freystein was born at Weissenfels in 1671. He
was educated at Leipzig and Jena Universities,
practised at Dresden as a lawyer, and died there
in 1718.
The melody of the opening and concluding
movements was first published in the Hundert
ahnmuthig- und sonderbahr geistlicher Arien
(Dresden, 1694). It is set there to Johann Georg
Albinus' Hymn, " Straf mich nicht in deinem
Zorn." From 17 12 it was also associated with
Freystein's Hymn in the Hymn books.
' An English version of the Cantata, " Christian stand with sword
in hand," is published by Breitkopf & Haertel.
36o CANTATA CXV
Bach has not used the melody elsewhere. He
had recent (1715) authority for the variations he
introduces into bars 3 and 4 of the original tune.
(a)
The words of the opening movement of the
Cantata are the first stanza of Freystein's Hymn :
* Mache dich, mein Geist, bereit,
Wache, fleh' und bete,
Dass dich nicht die bose Zeit
Unverhofft betrete ;
Denn as ist
Satans List
i)ber viele Frommen
Zur Versuchung kommen. B.G. xxiv. ill.
Translations of the Hymn into English are
noted in the Dictionary of Hymnology, p. 397.
Form. Choral Fantasia {Corno, Flauto, Oboe
d'amore. Strings, Continue).
The words of the concluding Choral are the
tenth stanza of Freystein's Hymn :
* Drum so lasst uns immerdar
Wachen, fliehen, beten,
Weil dir Angst, Noth und Gefahr
Immer naher treten ;
Denn die Zeit
Ist nicht weit.
Da uns Gott wird richten
Und die Welt vernichten. B.G. xxiv. 132.
Form. Simple {Coma, Flauto, Oboe d'amore,
Strings, Continue). Ckoralgesdnge, No. 312.
CANTATA CXVI 361
Cantata CXVI. Du Friedefurst, Herr
JESU Christ'. Twenty-fifth Sunday after
Trinity (1744)
A Choral Cantata, on Jakob Ebert's Hymn,
"Du Friedefurst, Herr Jesu Christ" (see Cantata 67).
For Bartholomaus Gesius' melody, see Cantata
67.
(a)
The words of the opening movement are the
first stanza of Ebert's Hymn :
Du Friedefurst, Herr Jesu Christ,
Wahr'r Mensch und wahrer Gott,
Ein starker Nothhelfer du bist
Im Leben und im Tod.
Drum wir allein
Im Namen dein
Zu deinem Vater schreien. E.G. xxiv. 135.
Form. Choral Fantasia {Corno, 2 Ob. d'amore.
Strings, Continud).
The words of the concluding Choral are the
seventh stanza of Ebert's Hymn :
Erleucht' auch^ unsern Sinn und Herz
Durch den Geist deiner Gnad',
Dass wir nicht treiben draus ein'n Scherz,
Der unsrer Seele schad't.
1 An English version of the Cantata, " O Jesu Christ, Thou
Prince of Peace," is published by Novello & Co.
2 I 60 I doch.
362 CANTATA CXVII
O Jesu Christ,
Allein du bist,
Der Solch's wohl kann ausrichten.
E.G. xxiv. 158.
Form. Simple {Corno, 2 Ob. d' amove, Strings,
Continuo). Choralgesdnge, No. 69.
Cantata CXVII. Sei Lob und Ehr' dem
HOCHSTEN Gut {c. 1733)'
A Choral Cantata, on Johann Jakob Schijtz'
Hymn of Thanksgiving, " Sei Lob und Ehr' dem
hochsten Gut," first published in his Christliches
Gedenckbiichlein, zu Beforderung eines anfangenden
neuen Lebens (Frankfort a. Main, 1675).
Schiitz was born at Frankfort a. Main in 1640,
practised as an advocate, and died there in 1690.
The melody " Es ist das Heil uns kommen her "
(see Cantata 9), which Bach uses for the Hymn,
is generally associated with it in the Hymn books.
(a)
The words of the opening movement are the
first stanza of Schiitz' Hymn :
* Sei Lob und Ehr" dem hochsten Gut,
Dem Vater aller Giite,
' The Score does not indicate the occasion for which the Cantata
was designed. Every movement of the Cantata is a stanza of the
Hymn.
CANTATA CXVII 363
Dem Gott, der alle Wunder thut,
Dem Gott, der mein Gemiithe
Mit seinem reichen Trost erfiillt,
Dem Gott, der alien Jammer stillt.
Gebt unserm Gott die Ehre !
B.G. xxiv. i6i.
Translations of the Hymn into English are
noted in the Dictionary of Hymnology, p. 1018.
Form. Choral Fantasia (2 Fl., 2 Ob., Strings,
Continuo).
The words of the fourth movement are the
fourth stanza of Schiitz' Hymn :
* Ich rief dem Herrn in meiner Noth :
Ach Gott, vernimm mein Schreien !
Da half mein Heifer mir vom Tod
Und liess mir Trost gedeihen.
Drum dank', ach Gott, drum dank' ich dir ;
Ach danket, danket Gott mit mir !
Gebt unserm Gott die Ehre ! B.G. xxiv. 172.
Form. Simple (Continuo). Ckoraig-esdnge,No.go.
The words of the concluding Choral are the
ninth stanza of Schiitz' Hymn :
* So kommet vor sein Angesicht
Mit jauchzenvoUem Springen ;
Bezahlet die gelobte Pilicht,
Und lasst uns frohlich singen ;
364 CANTATA CXVIII
Gott hat es AUes wohl bedacht
Und AUes, Alles wohl gemacht !
Gebt unserm Gott die Ehre !
B.G. xxiv. 172.
Form. Simple (Contmuo). Choralgesdnge,'No.(^.
Cantata CXVIII. O Jesu Christ, mein's
Lebens Light {c. 1737)'
The melody of the single movement which forms
the Cantatji is the anonymous "Ach Gott, wie
manches Herzeleid " (see Cantata 3).
The words of the movement are the first stanza
of Martin Behm's funerary Hymn, " O [Herr] Jesu
Christ, mein's Lebens Licht" (see Cantata 58):
O Jesu Christ, mein's Lebens Licht,
Mein Hort, mein Trost, mein' Zuversicht,
Auf Erden bin ich nur ein Gast,
Und driickt mich sehr der Siinden Last.
B.G. xxiv. 185.
Form. Choral Motett {Lituus i and 2, Cornetto,
3 Trombonesy.
1 The Score does not indicate the occasion for which the Cantata
was written. Schweitzer, ii. 371, supposes that it was composed
for and performed originally at a funeral in the open air. The fact
would explain the orchestration of the Cantata. Another Score of it
exists, in which Strings (and perhaps Wood Wind) replace the brass
instruments.
2 The Lituus probably was a member of the Cornet family.
CANTATA CXIX 365
Cantata CXIX. Preise, Jerusalem, den
Herrn^- For the Inauguration of the Town
Council, Leipzig (1723)
Melody: " Herr Gott dick loben wir" Anon. 1535
The words and melody of the concluding Choral
of the Cantata are from Luther's translation of the
" Te Deum," " Herr Gott dich loben wir " (see
Cantata 16). The melody printed above is that
portion of the Plainsong to which the clau.ses
Bach uses here were sung. Bach's version of the
"Amen" is not found in the 1535 text.
The words of the Choral are the twenty-second
and twenty-third clauses of the " Te Deum " :
Hilf deinem Volk, Herr Jesu Christ,
Und segne das dein Erbtheil ist,
Wart' und pfleg^ ihr'r zu aller Zeit,
Und heb' sie hoch in Ewigkeit.
B.G. xxiv. 246.
Form. Simple. Choralgesdnge, No. 134^
1 An English version of the Cantata, "Praise thou the Lord,
Jerusalem," is published by Novello & Co.
2 The orchestration is not stated in the Score. The work was
the first of Bach's Rathswahl Cantatas at Leipzig.
366
CANTATA CXX
Cantata CXX. Gott, man lobet dich in der
Stille. For the Inauguration of the Town
Council, Leipzig {c. 1730^)
Melody: '■'■ Herr Gott dich loben wir"
Anon. 1535
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The words and melody of the concluding Choral
of the Cantata are from Luther's translation of
the "TeDeum" (see Cantata 16). The melody
printed above is that portion of the Plainsong to
which the clauses Bach uses here were sung.
' The Cantata probably had served for the celebration of the
Augsburg Confession in Leipzig, June 26, 1730 (Spitta, 11. 469!.
CANTATA CXXI
367
The words of the Choral are clauses xx-xxiii
ofthe"TeDeum":
Nun hilf uns, Herr, den Dienern dein,
Die mit dein'm Blut' erloset sein.
Lass' uns im Himmel haben Theil
Mit den Heil'gen im eVgen Heil.
Hilf deinem Volk, Herr Jesu Christ,
Und segne, was^ dein Erbtheil ist,
Wart' und pfleg' ihr'r zu aller Zeit,
Und heb' sie hoch in Ewigkeit.
B.G. xxiv. 284.
Form. Simple {Continuo). Choralgesdnge, No.
135-
Cantata CXXI. Christum wir sollen loben
SCHON. Feast of St Stephen (Christmas)
{c. 1740)
Melody: "A soils ortus cardine'
Anon. 1537
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368
CANTATA CXXI
Melody : " Christum wir sollen loben schon " Anon. 1 524
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A Choral Cantata, on Luther's Christmas Hymn,
" Christum wir sollen loben schon," a full and close
translation of Coelius Sedulius' Christmas Hymn,
" A solis ortus cardine," first published, with the
melody, in Johann Walther's Geystliche gesangk
Buchleyn (Wittenberg, 1524) and the Enchiridion
Oder eyn Handbuchlein (Erfurt, 1524).
The melody is an adjustment of that of the
Latin Hymn, and in its simplified form may be
attributed to Walther. The original Plainsong is
printed above from Psalmen und geystliche Lieder,
die man zu Strassburg, und auch die man inn
anderen Kirchen pflegt zu singen (Strassburg, 1537).
Bach has not used the tune elsewhere in the
Cantatas, Oratorios, or Motetts. Organ Works, N.
XV. 33 ; xviii. 23.
{a)
The words of the opening movement are the
first stanza of Luther's Hymn :
Christum wir sollen loben schon,
Der reinen Magd Marian Sohn,
So weit die liebe Sonne leucht't
Und an aller Welt Ende reicht. B.G. xxvi. 3.
CANTATA CXXII 369
Translations, of the Hymn into English are
noted in the Dictionary of Hymnology, p. 4.
Form. Choral Motett {Cometto, 3 Trombones,
Oboe d'amore, Strings, Continue).
ib)
The words of the concluding Choral are the
eighth stanza of Luther's Hymn :
Lob, Ehr' und Dank sei dir gesagt,
Christ, gebor'n von der reinen Magd,
Satnmt' Vater und dem heil'gen Geist,
Von nun an bis in Ewigkeit.
B.G. xxvi. 20.
Form. Simple {^Cometto, 3 Trombones, Oboe
d'amore. Strings, Continuo). Choralgesdnge, No. 42.
Cantata CXXII. Das neugebor'ne Kinde-
LEIN. Sunday after Christmas {c. 1742)
Melody: "Das neugebor'ne Kindelein''
Melchior Vulpius 1609
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370 CANTATA CXXII
A Choral Cantata^ on Cyriacus Schneegass'
Christmas Hymn, " Das neugebor'ne Kindelein,"
probably first published in his Weihenacht und New
Jakrs-Gesdng (Erfurt, 1595), and thence in his
Geistliche Lieder und Psalmen (Erfurt, 1597).
Schneegass was born at Buffleben, near Gotha,
in 1546. In 1573 he was appointed pastor of St
Blasius' Church at Freidrichoda, near Gotha, and
died there in 1 597.
The melody was first published, with the Hymn,
in Melchior Vulpius' Bin sckon geistlich Gesangbuch
(Jena, 1609). It may be attributed confidently to
Vulpius himself.
The melody does not occur elsewhere in the
Cantatas, Oratorios, or Motetts.
\d)
The words of the opening movement are the
first stanza of Schneegass' Hymn :
Das neugebor'ne Kindelein,
Das herzeliebe Jesulein,
Bringt abermal ein neues Jahr
Der auserwahlten Christenschaar.
B.G. xxvi. 23.
Translations of the Hymn into English are
noted in the Dictionary of Hymnology, p. 10 14.
Form. Choral Fantasia (2 Ob., Taille"^, Strings,
Continuo).
1 See p. 33 supra. ^ The Taille was a Tenor Bassoon.
CANTATA CXXII 37 1
In the third movement, the Soprano Recitativo,
"Die Engel, welche sich," the Choral, melody is in
the accompaniment (3 Flutes and Continuo).
The Choral words of the fourth movement are
the third stanza of the Hymn :
1st Gott versohnt und unser Freund,
Was kann' uns thun der arge Feind?
Trotz Teufel und der^ HoUen Pfort'!
Das Jesulein ist unser Hort.
B.G. xxvi. 35.
Form. An " Arie" ( Terzetto) for Soprano, Alto,
and Tenor, the Alto (with Violino I and // and
Viola in unison) having the melody {Continue^
The words of the concluding Choral are the
fourth stanza of the Hymn :
Es bringt das rechte Jubeljahr;
Was trauern wir denn immerdar?
Frisch auf ! itzt ist es' Singenszeit,
Das Jesulein wend't alles Leid.
B.G. xxvi. 40.
Form. Simple (2 Ob., Taille, Strings, Continuo),
Choralgesdnge, No. 57.
1 1597 mag. ^ 1597 Trotz TUrcken, Bapst und.
' 1597 es ist itzt.
24—3
372
CANTATA CXXIII
Cantata CXXIII. Liebster Immanuel, Her-
ZOG DER Frommen. FeaSt of the Epiphany
{c. 1740)
Melody : '■^Liebster Immanuel" Anon. 1679
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"ScAiinsUr Immanuel" Anon. 1698
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A Choral Cantata, on Ahashuerus Fritsch's
" Liebster [Schonster] Immanuel, Herzog der
Frommen," first published in his Himmels-Lust und
Welt-Unlust (Jena, 1679), with the melody.
CANTATA CXXni 373
The melody appears either to be derived from,
or to be the original of, a " Courant," which is found
in a MS. collection of dance tunes dated 1681.
The former alternative is the more probable.
The melody does not occur elsewhere in the
Cantatas, Oratorios, or Motetts. Erk, No. 113,
who attributes the tune tentatively to Johann
Rodolph Ahle, prints the melody, with figured
Bass, from Schemelli's Qesang-Buch (1736). The
tune is very freely treated in the Hymn books.
Bach's version follows a reconstruction of it in
the Darmstadt Geistreiches Gesang-Buch (Darm-
stadt, 1698). His substitution of an F sharp for
A natural as the third note of the third bar of the
reconstructed melody {supra) js found in a version
of the tune in 171 5. For his treatment of bars 5
and 6 also there is (173 1) authority. His closing
cadence, based on the 1679 text, is repeated in
Schemelli's Gesang-Buck (1736).
(a)
The words of the opening movement are the
first stanza of Fritsch's Hymn :
Liebster Immanuel, Herzog der Frommen,
Du meiner Seelen HeiP, komm, komm nur^ bald !
Du hast mir, hochster Schatz, mein^ Herz genommen.
So ganz vor Liebe brennt und nach dir walk.
' 1679 Trost. " 1679 docli.
3 1679 Denn du hast mir, mein Schatz, das.
374 CANTATA CXXni
Nichts kann auf Erden
Mir Lieb'res werden,
Als wenn ich meinen Jesum stets behalt"^.
B.G. xxvi. 43.
A translation of the Hymn into English is noted
in the Dictionary of Hymnology, p. 675.
Form. Choral Fantasia (2 FL, 2 Ob. d'amore,
Strings, Continuoy.
The words of the concluding Choral are the
fifth stanza of Fritsch's Hymn :
Drum fahrt nur immerhin', ihr Eitelkeiten !
Du, Jesu, du bist mein, und ich bin dein ;
Ich will mich von der Welt zu dir bereiten ;
Du soUt in meinem Herz und Munde sein*!
Mein ganzes Leben
Sei dir ergeben,
Bis man mich einstens legt in's* Grab hinein.
B.C. xxvi. 60.
Form. Simple (2 FL, 2 Ob. d'amore. Strings,
Continuo). Choralgesdnge, No. 229.
' 1679 Wenn ich, mein Jesu, dich nur stets b6halt.
'^ Spitta, in. 102, draws attention to Bach's evident desire to
conceal the secular character of the melody, which is a sarabande
in form.
'1679 Drumb fahret immerhin.
* 1679 Mund und Herze sein.
* 1679 Bis man mich leget in das.
CANTATA CXXIV 375
Cantata CXXIV. Meinen Jesum lass' ich
NICHT. First Sunday after the Epiphany
(c. i;4o)
A Choral Cantata, on Christian Keimann's
Hymn, "Meinen Jesum lass' ich nicht" (see
Cantata 70). For Andreas Hammerschmidt's (?)
melody, see Cantata 70.
(a)
The words of the opening movement are the
first stanza of Keimann's Hymn :
Meinen Jesum lass' ich nicht,
Weil er sich fur mich gegeben.
So erfordert meine Pflicht,
Klettenweis' an ihm zu kleben.
Er ist meines Lebens Licht :
Meinen Jesum lass' ich nicht. B.G. xxvi. 63.
Form. Choral Fantasia {Como, Oboe d' amove.
Strings, Continuo).
The words of the concluding Choral are the
sixth stanza of Keimann's Hymn' :
Jesum lass' ich nicht von mir,
Geh' ihm ewig an der Seiten ;
Christus lasst mich fur und fiir
Zu den Lebens-Bachlein leiten.
Selig, der^ mit mir so spricht :
Meinen Jesum lass' ich nicht. B.G. xxvi. 82.
Form. Simple {Corno, Oboe d'amore concer-
tante, Strings, Continuo). Choralgesdnge, No. 246.
' See Cantata 70 for the acrostic of this stanza. ^ 1659 wer.
376 CANTATA CXXV
Cantata CXXV. Mit Fried' und Freud' ich
fahr' dahin. Purification of the B.V.M.
{c 1740)
A Choral Cantata, on Luther's version of the
'' Nunc Dimittis " (see Cantata 83, for the Hymn
and the melody).
ia)
The words of the opening movement are the
first stanza of Luther's Hymn :
Mit Fried' und Freud' ich fahr' dahin
In Gottes Willen ;
Getrost ist mir mein Herz und Sinn,
Sanft und stille ;
Wie Gott mir verheissen hat,
Der Tod ist mein Schlaf worden.
B.G. xxvi. 85.
Form. Choral Fantasia {Corno, Flauto, Oboe,
Strings, Continuo).
The Choral words of the third movement are
the second stanza of Luther's Hymn :
Das macht Christus, wahr'r Gottes Sohn,
Der treue Heiland,
Den du mich, Herr, hast sehen lahn,
Und machst bekannt,
Dass Er sei das Leben und Heil,
Im Tod und auch im Sterbeni. B.G. xxvi. loi.
Form. "Recitativ" and Choral for Bass (Strings,
Continuo^).
^ 1524 Ynn nott und sterben. * See p. 44 supra.
CANTATA CXXVI 377
(^)
The words of the concluding Choral are the
fourth stanza of Luther's Hymn :
Er ist das Heil und sel'ge Licht
Fiif die Heiden :
Zu erleuchten\ die dich kennen nicht,
Und zu weiden.
Er ist dein's Volks Israel
Der Preis, Ehr", Freud' und Wpnne.
B.G. xxvi. no.
Form. Simple {Corno, Flauto, Oboe, Strings,
Continue). Choralgesange, No. 251.
'^^
ANTATA CXXVI. ERHALT' UNS, HERR, BEI
DEINEM Wort. Sexagesima Sunday (c. 1740)
A Choral Cantata, on Luther's Hymn, " Erhalt'
uns, Herr" (see Cantata 6). Bach's association
(in the concluding Choral of the Cantata) of
Luther's "Verleih' uns Frieden" with the Hymn,
" Erhalt' uns, Herr," was in accordance with
customary use. In many parts of Germany the
stanza was sung immediately after the sermon,
either by itself, or in association with Luther's
" Erhalt' uns." For the melody of the latter Hymn,
which Bach uses in the first and third movements
of the Cantata, see Cantata 6.
1 1524 leuchten.
378 CANTATA CXXVI
{a)
The words of the opening movement are the
first stanza of Luther's " Erhalt' uns, Herr " :
Erhalt' uns, Herr, bei deinem Wort,
Und steur' des Papsts und Turken Mord,
Die Jesum Christum, deinen Sohn,
Stiirzen wollen von seinem Thron*.
B.G. xxvi. 113.
Form. Choral Fantasia ( Tromba, 2 Ob., Strings,
Continuoy.
The Choral words of the third movement are
the third stanza of Luther's " Erhalt' uns, Herr " :
Gott heil'ger Geist, du Troster werth,
Gieb dein'm Volk einerlei Sinn auf Erd'.
Steh' bei uns in der letzten Noth,
Gleit' uns in's Leben aus dem Tod.
B.G. xxvi. 126.
Form. " Recitativ," or Dialogus, for Tenor and
Alto (Continuo), the Choral melody and Recitativo
passages being shared by both voices.
The words and melody of the concluding Choral
are those of Luther's Hymn, " Verleih' uns Frieden
gnadiglich," with its additional stanza, "Gieb
unserm Fiirst'n " (see Cantata 42) :
1 1543 Wolten stiirtzen von deinem thron.
^ See Spitta, in. loi, on the form of the movement.
CANTATA CXXVII
379
Verleih' uns Frieden gniidiglich,
Herr Gott, zu unsem Zeiten ;
Es ist ja doch' kein And'rer nicht,
Der fiir uns konnte streiten,
Denn du, unser Gott, alleine.
Gieb unsem Fiirst'n und aller Obrigkeit
Fried' und gut Regiment,
Dass wir unter ihnen
Ein geruh'g^ und stilles Leben fuhren mogen
In aller Gottseligkeit und Ehrbarkeit. Amen.
B.C. xxvi. 131.
Form. Simple {Tromba, 2 Ob., Strings, Con-
tinuo). Choralgesange, No. 321.
Cantata CXXVII. Herr Jesu Christ, wahr'r
Mensch und Gott. Quinquagesima (" Esto
Mihi") Sunday {c. 1740)
Melody: "On a beau son maison bastir" .
Louis Bourgeois 155 1
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A Choral Cantata, on Paul Eber's funerary
Hymn, " Herr Jesu Christ, wahr'r Mensch und
' 1535 denn. * 1566 geruhlich.
38o CANTATA CXXVII
Gott," written in 1557, and first published in
the Hamburg Enchiridion Geistliker Leder und
Psalmen D. Mar. Lufk. (Hamburg, 1565).
The melody appears first in the Geneva
Psalter, Pseaumes octante trois de David, mis en
rime Francoise (Geneva, 1551), where it is set to
Psalm cxxvii. In Lutheran Hymn books it is
generally associated with Eber's Hymn. Psalm
cxxvii, included in the Geneva Psalter of 1551, was
one of the thirty-four recently translated by
Theodore Beza. The melody must therefore be
assigned to Louis Bourgeois (see Cantata 1 3).
The melody does not occur elsewhere in the
Cantatas, Oratorios, or Motetts. For the first note
of the first line and last note of the second in
Bach's version there is late sixteenth century
authority (Calvisius' Hymni sacri Latini et ger-
manici, Erfurt, 1594).
(«)
The words of the opening movement of the
Cantata are the first stanza of Eber's Hymn :
Herr Jesu Christ, wahr'r Mensch und Gott,
Der du litt'st Marter, Angst und Spott,
Fur mich am Kreuz auch endlich starbst,
Und mir dein's Vaters Huld erwarbst,
Ich ,bitt' durch's bittre Leiden dein ;
Du woU'st mir Siinder gnadig sein !
B.G. xxvi. 135.
CANTATA CXXVIII 38 1
Translations of the Hymn into English are
noted in the Dictionary of Hymnology, p. 319.
Form. Choral Fantasia (2 FL, 2 Ob., Strings,
Continuo).
As Quinquagesima heralds the season of the
Passion, Bach introduces into the orchestral accom-
paniment of the movement the melody, "Christe,
du Lamm Gottes " (see Cantata 23), the Strings
and Wind instruments playing alternate lines
of it'.
The words of the concluding Choral are the
eighth stanza of Eber's Hymn :
Ach Herr, vergieb all' unsre Schuld,
Hrlf, dass wir warten mit Geduld,
Bis unser Stiindlein kommt herbei,
Audi unser Glaub' stets wacker sei,
Dein'm Wort zu trauen festiglich,
Bis wir einschlafen seliglich. E.G. xxvi. 160.
Form. Simple (2 FL, 2 Ob., Strings, Continuo).
Choralgesdnge, No. 147.
Cantata CXXVHI. Auf Christi Himmel-
FAHRT ALLEIN. , Ascension Day (J. 1735)
(«)
For the melody of the opening movement,
Nicolaus Decius' " Allein Gott in der Hoh' sei
Ehr'," see Cantata 85.
' See Spitta, ill. ipi, on the form of the movement.
382 CANTATA CXXVIII
The words of the opening movement are the
first stanza of Josua Wegelin's, or Wegelein's, As-
cension Hymn, " Auf Christi Himmelfahrt allein,"
first published in Wegelin's Anddchtige Versoh-
nung mit Gott (Nvirnberg, 1636), with a first stanza
beginning, " Allein auf Christi Himmelfahrt," and
to the tune " Allein Gott '' {supra). The Hymn
was reconstructed and published as " Auf Christi
Himmelfahrt allein" in the Luneburg Vollstdn-
diges Gesang-Buch (Luneburg, 1661).
Wegelin was born at Augsburg in 1604, and was
successively Deacon, Archdeacon, and pastor there.
In 163 s he was appointed pastor at Pressburg.
He died in 1640:
Auf Christi Himmelfahrt allein
Ich meine Nachfahrt grtinde,
Und alien Zweifel, Angst und Peih
Hiermit stets uberwinde ;
Denn weil das Haupt im Himmel ist,
Wird seine Glieder Jesus Christ
Zu rechter Zeit nachholen. B.G. xxvi. 163.
English translations of the Hymn are noted in
the Dictionary of Hymnology, p. 1 246.
Form. Choral Fantasia (2 Cor., 2 Ob., Oboe da
caccia. Strings, Continuo).
{b)
For the melody of the concluding Choral, the
anonymous (1679) "O Gott, du frommer Gott," see
Cantata 45.
CANTATA CXXIX 383
The words of the concluding Choral are the
fourth stanza of Matthaus Avenarius' Hymn, "O
Jesu, meine Lust," first published (to no specified
melody) in Heinrich Ammersbach's Vermehrtes
Gesang-Bilchldn (Halberstadt, 1673). Its proper
melody dates from 1677 and appears to have been
little used. Avenarius' Hymn is set to " O Gott,
du frommer Gott," in Wagner (1697).
Avenarius was born at Eisenach in 1625, became
Cantor at Schmalkalden in 1650, pastor at Stein-
bach-Hallenberg in 1662, and died in 1692 :
Alsdann so wirst du mich
Zu deiner Rechten stellen,
Und mir, als deinem Kind,
Ein gnadig Urtheil fallen,
Mich bringen zu der Lust,
Wo deine Herrlichkeit
Ich werde schauen an
In alle Ewigkeit. B.G. xxvi. 184.
Form. Embellished (2 Cor, 2 Ob., Oboe da
caccia. Strings, Continuo). Choralgesdnge, No. 279.
Cantata CXXIX. Gelobet sei der Herr.
Trinity Sunday (1732)
A Choral Cantata, on Johannes Olearius' Hymn
for Trinity Sunday, " Gelobet sei der Herr,"
founded on the Gospel for the Day. The Hymn
was first published in Olearius' Christliche Bet-
Schule (Leipzig, 1665), to the tune, "Nun danket
384 CANTATA CXXIX
alle GottV Bach sets it here to the anonymous
( 1 679) " O Gott, dui frdmmer Gott " (see Cantata 45 ).
In Wagneri (1697) the Hymn is set to " Nun danket
alle Gott."
(a)
The words of the first movement are the first
stanza of Olearius' Hymn :
Gelobet sei der Herr,
Mein Gott, mein Licht, mein Leben,
Mein Schopfer, der mir hat
Mein'n Leib und Seel' gegeben ;
Mein Vater, der mich schiitzt
Von Mutterleibe an,
Der alle Augenblick'
Viel Gut's an mir gethan. B.G. xxvi. 187.
Translations of the Hymn into English are
noted in the Dictionary of Hymnology, p. 866.
Form. Choral Fantasia (3 Trombe, Timpani,
2 Ob,, Strings, Continuo).
The words of the concluding Choral are the fifth
stanza of Olearius' Hymn :
Dem wir das Heilig itzt
Mit Freuden lassen klingen,
Und mit der Engelschaar
Das Heilig, Heilig singen ;
Den herzlich lobt und preist
Die ganze Christenheit :
Gelobet sei nieiii Gott
In alle Ewigkeit ! B.G. xxvi. 224.
' Every movement of the Cantata is a stanza of the Hymn,
CANTATA CXXX
385
Form. Extended (3 Trombe, Timpani, Flauto,
2 Ob., Strings, Continuo).
Cantata CXXX. Herr Gott, dich loben
ALLE WIR. Feast of St Michael the Arch-
angel (c. 1740)
Melody. " Or sus, serviteurs du Seigneur'^
Louis Bourgeois 1551
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Melody: "II riy a icy celluy"
Anon. c. 1551'
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' Sung to the words of the French chanson :
II n'y a icy celluy
Qui n'ait sa belle amye.
Je ne le dy pas pour my,
La myenne n'y est mye.
EUe est bien a son plaisir,
Celle qui a son desir,
EUe est bien a son plaisir,
Mais je ne I'ouse dire.
T. B. C.
25
386
CANTATA CXXX
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A Choral Cantata, on Paul Eber's Hymn, a free
translation of Philipp Melanchthon's "Dicimus
grates tibi, summe rerum," first published as a
broadsheet at Niirnberg c. 1554 as "Ein schon
New Geistlich Lobgesang'' and thence in Johann
Eichorn's Geistliche Lieder D. Mart. Lut. und
anderer frommen Christen (Frankfort a. Oder,
1561).
The melody, which was associated with Eber's
Hymn before Bartholomaus Gesius wrote for the
latter its proper melody in i6oi\ was published
originally in the Geneva Psalter, Pseaumes octante
trots de David (Geneva, 1551), where it is set to
Psalm cxxxiv, " Or sus, serviteurs du Seigneur,"
one of the thirty-four Psalms translated by
Theodore Beza and included in that book. The
tune in its present and familiar form, therefore,
must be attributed to Louis Bourgeois (see Can-
tata 13). But, like the other Psalm tunes in that
collection, "Or sus, serviteurs" probably has a
secular origin. Its first two lines bear a distinct
^ Zahn, I. No. 460.
CANTATA CXXX 387
resemblance to the melody of a French chanson,
" II n'y a icy celluy\" The tune was set to Psalm c
in John Knox' Anglo-Genevan Psalter of 1561 and
also in Sternhold and Hopkins' The whole Book of
Psalmes (1562). Claude Goudimel harmonised it
in 1565. Upon the issue in 1696 of Tate and
Brady's A New Version of the Psalms of David,
Fitted to the Tunes Used in Churches, the word
" Old " was added to the titles of the tunes
that were retained in use from the older Psalter.
Thus Bourgeois' tune, which from 1562 to 1696 was
the " Hundredth," was thenceforth known as the
" Old Hundredth." The name is peculiar to
British use.
The melody does not occur elsewhere in the
Cantatas, Oratorios, or Motetts. There are har-
monisations of the tune in the Choralgesdnge,
Nos. 129, 130^ 132.
id)
The words of the opening movement are the
first stanza of Eber's Hymn :
Herr Gott dich loben alle wir
Und sollen billig danken dir
Fijr dein' Geschopf der Engel schon,
Die um dich schweb'n in deihem Thron.
B.G. xxvi. 233.
^ The melody is printed supra from Gaston Paris and Augusta
Gevaert's Chansons du XV' siicle, pitblUes d'apris le manuscrit de la
Bibliothique nationale de Paris (Paris, 1875).
2 'See {b) infra.
2; — 2
388 CANTATA CXXX
Translations of the Hymn into English are
noted in the Dictionary of Hymnology, p. 293.
Form. Choral Fantasia (3 Trombe, Timp., 3 Ob.,
Strings, Continue).
The words of the concluding Choral are the
eleventh and twelfth stanzas of Eber's Hymn :
Darutn wir billig loben dich
Und danken dir, Gott, ewiglich,
Wie auch der lieben Engel Schaar
Dich preisen heut* und immerdar.
Und bitten dich : woUst' allezeit
Dieselben heissen sein bereit,
Zu schiitzen deine kleine Heerd',
So halt dein gottlich's Wort in Werth.
B.G. xxvi. 268.
Form. Embellished (3 Trombe, Timp., 3 Ob.,
Strings, Continue). Choralgesdnge, No. 131'.
1 c. 1554 du wolst.
^ Erk, No. iio, and Choralgesdnge, No. 130, print a setting of
the melody in Simple form orchestrated for 1 Clarini, which Erk
conjectures to have been intended as a simpler substitute for the
closing Choral. He prints the arrangement from an old MS. which
he thinks may be in Karl Philipp Emmanuel Bach's hand. Bemhard
Friedrich Richter, in the Choralgesdnge, questions its genuineness.
CANTATA CXXXI 389
Cantata CXXXI. Aus der Tiefe rufe ich,
Herr, zu dir (1707-8)1
The Hymn and Choral melody which Bach
uses in the second and fourth movements of the
Cantata are Bartholomaus Ringwaldt's Lenten
Hymn, " Herr Jesu Christ, du hochstes Gut " (see
Cantatas 48 and 113).
(a)
The Choral words of the second movement are
the second stanza of Ringwaldt's Hymn :
Erbarm' dich mein in solcher Last,
Nimm sie aus meinem Herzen,
Dieweil du sie gebiisset hast
Am Holz mit^ Todesschmerzen :
Auf dass ich nicht mit^ grossem Weh
In meinen Sunden untergeh',
Noch* ewiglich verzage^
B.G. xxviii. 11.
Form. Duetto for Soprano and Bass, the former
having the Choral melody, while the Bass inde-
pendently sings verses iii and iv of Psalm cxxx
{Oboe, Continuoy.
1 The Score does not indicate the occasion for which the
Cantata was composed. The B.G. edition bears the statement,
"Componirt zu Milhlhausen 1 707-1 708."
2 1588 im. * 1588 fiir.
■■ 1588 Und. ^ 1588 vorzage.
'' See Spitta, I. 451, on the construction of this movement.
390 CANTATA CXXXII
(^)
The Choral words of the fourth movement are
the fifth stanza of Ringwaldt's Hymn :
Und well ich denn in meinem Sinn,
Wie ich zuvor geklaget,
Auch ein betriibter SUnder bin,
Den sein Gewissen naget,
Und woUte gern^ im Blute dein
Von Siinden abgewaschen^ sein,
Wie David und Manasse. B.G. xxviii. 20.
Form. Duetto for Alto and Tenor, the Alto
having the Choral melody while the" Tenor sings
independently verse vi of Psalm cxxx {Continuoy.
Cantata CXXXII. Bereitet die Wege, be-
REITET die Bahn. Fourth Sunday in Advent
(171S)
The words and melody of the concluding
Choral are those of Elisabethe Cruciger's Christmas
Hymn, " Herr Christ, der einig' Gott's Sohn " (see
Cantata 22).
The Choral is a substitution, for use at Leipzig,
of the movement originally written for and per-
formed at Weimar*, necessitated by the fact that
at St Thomas' Church figurate music was given
only on the first of the Sundays in Advent. Hence
' 1588 gerne mocht. ^ 1588 absoluiret.
■' See Spitta, i. 454. * See Schweitzer, 11. 142.
CANTATA CXXXIII
391
Bach's earlier Advent Cantatas had to be adapted
to another season.
The words of the concluding Choral are the
fifth stanza of Elisabethe Cruciger's Hymn :
Ertodt' uns durch dein' Giite,
Erweck' uns durch dein' Gnad' ;
Den alten Menschen kranke,
Dass der neu' leben mag,
Wohl hier auf dieser Erden
Den Sinn und all' Begehrden
Und G'danken^ hab'n zu dir.
B.G. xxviii. 50.
Form. Simple^
Cantata CXXXIII. Ich freue mich in dir.
Feast of St John the Evangelist (Christmas)
(1735-37)
Melody: '■^ Ich freue mich in dir" Bach's MS. c. 1735
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^ The Score simply contains the stanza, the name of the tune,
and the direction " Choral semplice stylo."
392 CANTATA CXXXIII
Melody: "Ichfreue mich in dir" Bach's version 1735-37
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Melody: " O jftV/«j Gottes Lamm ''
Konig's version 1738
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A Choral Cantata, on Caspar Ziegler's Christmas
Hymn, " Ich freue mich in dir," first published in
the Halle Geistreiches Gesang Buch (Halle, 1697).
Ziegler was born at Leipzig in 1621, and from
1655 was Professor of Law in the University of
Wittenberg. He was distinguished as a lawyer,
teacher, scholar, and poet. He died in 1690.
CANTATA CXXXIII 393
The melody, " Ich freue mich in dir," which
Bach uses in the opening and concluding move-
ments of the Cantata, is one of two^ that occur
for the first time in his Church Cantatas. That
the tune is by Bach himself has been stated, and
the following considerations support the conclusion.
The tune is not found in any Hymn book of
earlier date than the Cantata, i.e. 1735-37. The
earliest sketch of it is in Bach's autograph in the
MS. of the fugal subject " pleni sunt coeli " of the
Sanctus of the B minor Mass^ upon which he was
engaged in the period 1735-37. On the other
hand, another version of the melody is found in
the Harmonischer Lieder-Schatz, oder Allgemeines
Evangelisches Choral-Buch, published in 1738 by
Johann Balthasar Konig (1691-1758), "Director
Chori Musices in Franckfurt am Mayn." The tune
is set there to Gottfried Arnold's (1666-1714)
Hymn, " O stilles Gottes Lamm," while the first
line of the melody is appropriated to another tune,
set to the Hymn, " Ich will des Herren Zorn." It
is most improbable that Konig, actually Bach's
contemporary, would take liberties with the tune
if it was Bach's own composition. The melody,
also, entirely lacks the Aria character which
' The other melody is "AUe Menschen miissen sterben.'' See
Cantata ifii.
^ E.G. xxviii. p. XXV. It is printed supra, p. 391.
394 CANTATA CXXXIII
distinguishes Bach's Hymn tunes from seven-
teenth and eighteenth century melodies. It is
reminiscent, too, of the many reconstructions of
Melehior Franck's (?) " O grosser Gott von Macht "
(1632) (see Cantata 46), and of the tune "O Gott,
du frommer Gott" (1693) (see Cantata 24),
whose composite construction has been noticed.
Ziegler's Hymn, " Ich freue mich in dir," actually
was published in 1697 to the melody, "O Gott, du
frommer Gott," and it was quite contrary to Bach's
practice in a Choral Cantata to set the Hymn to a
new or unfamiliar tune. The balance of probability,
therefore, is against Bach's authorship of the tune.
The melody is not found elsewhere in the
Cantatas, Oratorios, or Motetts.
{a)
The words of the opening movement are the
first stanza of Ziegler's Hymn :
Ich freue mich in dir
Und heisse dich willkommen,
Mein liebes Jesulein!
Du hast dir vorgenommen
Mein Briiderlein zu sein.
Ach, wie ein susser Ton !
Wie freundlich sieht er aus
Der grosse Gottessohn !
B.G. xxviii. 53.
Form. Choral Fantasia (Cornetto, 2 Ob. d'amore.
Strings, Continud).
CANTATA CXXXV
395
The words of the concluding Choral are the
fourth stanza of the Hymn :
Wohlan ! so will ich mich
An dich, O Jesu, halten,
Und soUte gleich die Welt
In tausend StUcke spalten.
O Jesu ! dir, nur dir,
Dir leb' ich ganz allein ;
Auf dich, allein auf dich,
O' Jesu, schlaf ich ein.
B.G. xxviii. 80.
Form. Simple {Cometto, 2 Ob. d'amore, Strings,
Continuo). Choralgesdnge, No. 181.
Cantata CXXXV. Ach Herr, mich armen
Sunder. Third Sunday after Trinity {c. 1740)
Melody: " Herzlich thut mich verlangen"
Hans Leo Hassler 1601
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A Choral Cantata, on Cyriacus Schneegass'
Hymn on Psalm vi, " Ach Herr, mich armen
Siinder," first published in his Geistliche Lieder und
Psalmen (Erfart, 1597).
^ 1697 Mein.
396 CANTATA CXXXV
The melody, " Herzlich thut mich verlangen,"
which Bach uses in the first and last movements
of the Cantata, first occurs, as a secular song, in
Hans Leo Hassler's Lustgarten Neuer Teutscher
Gesdng (^ViXv\\>&r%, 1601). In 1613 it was attached
to Christoph Knoll's (1563-1650) "Herzlich thut
mich verlangen," and in 1656 to Paul Gerhardt's
" O Haupt voU Blut'." Christopher Demantius, in
his Threnodiae (Freiberg, 1620), set it to Schnee-
gass' "Ach Herr, mich armen Sunder," and the
Hymn is still generally sung to it.
The melody occurs also in Cantatas 25, 135, 153,
159, 161 ; in the "St Matthew Passion," Nos. 21,
23, S3. 63, 72; and in the "Christmas Oratorio,"
Nos. 5, 64. There are other harmonisations of the
tune in the Choralgesdnge, Nos. 157, 158. For the
B flat which Bach substitutes for D at the eleventh
note in the second part of the tune, and for the
C natural in place of G at the penultimate note,
there is early authority ( 1 679 and 1 694 respectively).
Organ Works, N. xviii. 53.
(«)
The words of the opening movement are the
first stanza of Schneegass' Hymn :
Ach Herr, mich armen Sunder
Straf nicht^ in deinem Zorn ;
' See BacKs Chorals, Part I, p. 8.
^ 1597 Nicht straff.
CANTATA CXXXV 397
Dein'n ernsten Grimm doch linder"',
Sonst ist's mit mir verlor'n.
Ach Herr, woUst mir vergeben
Mein' Siind' und gnadig sein,
Dass ich mag ewig leben,
Entfliehn der Hollenpein.
B.G. xxviii. 121.
Form. Choral Fantasia {Trombone, 2 Ob.,
Strings, Continuo). The cantiis is with the Basses.
(b)
The words of the concluding Choral are the
sixth stanza of the Hymn^:
* Ehr" sei in's Himmels Throne
Mit hohem Ruhm und Preis,
Dem Vater und dem Sohne,
Und auch zu gleicher Weis'
Dem heil'gen Geist mit Ehren,
In alle Ewigkeit !
Der woU' uns AU'n bescheren
Die ew'ge Seligkeit.
B.G. xxviii. 136.
Form. Simple {Cornetto, 2 Ob., Strings, Con-
tinuo). Choralgesdnge, No. 156.
' 1597 erlinder.
^ The doxology used here is a later addition to the Hymn, which
originally contained only five stanzas. It is found, as stanza vi
of Schneegass' Hymn, in the Dresden Gesangbuch ChristUcher
Psalmen und Kirchenlieder (Dresden, 1625).
398 CANTATA CXXXVI
Cantata CXXXVI. Erforsche mich, Gott,
UND ERFAHRE MEIN Herz. Eighth Sunday
after Trinity {c. 1725^)
The melody which Bach uses in the concluding
Choral of the Cantata is known both as "Auf
meinen lieben Gott" and "Wo soil ich fliehen
hin " (see Cantata s).
The words of the Choral are the ninth stanza
of Johann Heermann's Lenten Hymn, "Wo soil
ich fliehen hin" (see Cantata 5):
Dein Blut, der edle Saft,
Hat solche Stark' und Kraft,
Dass auch ein Tropflein kleine
Die ganze Welt kann reine,
Ja, gar aus Teufels Rachen
Frei, los und ledig^ machen.
B.G. xxviii. 164.
Form. Embellished {Corno, 2 Ob., Strings,
Continud). Choralgesdnge, No. 27.
Cantata CXXXVII. Lobe den Herren, den
mAchtigen Konig der Ehren. Twelfth
Sunday after Trinity (? 1732')
A Choral Cantata, on Joachim Neander's Hymn
of Thanksgiving, "Lobe den Herren," -first pub-
lished in his Glaub- und Liebesubung (Bremen,
1680).
1 Rust suggests the second Leipzig period. ^ 1630 selig.
CANTATA CXXXVII 399
Neander was born at Bremen in 1650. In
1674 he was appointed Rector of the Latin School
at Dusseldorf, and five years later (1679) returned
to Bremen as unordained assistant in the Church
of St Martin. He died in 1680.
For the melody, "Hast du denn, Liebster,"
which Bach uses throughout the Cantata, see Can-
tata 57.
(a)
Verse I.
* Lobe den Herren, den machtigen Konig der Ehren,
Meine geliebte Seele, das ist main Begehren.
Kommet zu Hauf,
Psalter und Harfen, wacht auf 1
Lasset die Musicam horen. B.G. xxviii. 167.
Translations of the Hymn into English are
noted in the Dictionary of Hymnology, pp. 683, 1665.
Form. Choral Fantasia (3 Trombe, Timp., 2 Ob.,
Strings, Continue).
Verse IP.
* Lobe den Herren, der Alles so herrlich regieret,
Der dich auf Adders Fitigen sicher gefiihret,
Der dich erhalt,
Wie es dir selber gefallt ;
Hast du nicht dieses verspiiret? B.G. xxviii. 186.
Form. Unison Choral for Alto. The cantus
is treated freely ( Violino Solo, Continuo^).
^ Verse iii in the third movement is not set to the Choral melody.
2 The movement is No. 6 of the Schubler Chorals (N. xvi. 14).
400 CANTATA CXXXVIII
(^)
Verse IV.
* Lobe den Herren, der deinen Stand sichtbar gesegnet,
Der aus dem Himmel mit Stromen der Liebe geregnet!
Denke d'ran,
Was der AUmachtige kann,
Der dir mit Liebe begegnet. B.G. xxviii. 193.
Form. Tenor Aria, the cantus being in the
Tromba obbligato ( Tromba, Continuo).
(d)
Verse V.
* Lobe den Herren ; was in mir ist, lobe den Namen !
AUes was Odem hat, lobe mit Abraham's Samen !
Er ist dein Licht.
Seele, vergiss es ja nicht !
Lobende schliesse mit Amen ! B.G. xxviii. 196.
Form. EmbeUished (3 Trombe, Timp., 2 Ob.,
Strings, Continuo). Choralgesdnge, No. 230.
Cantata CXXXVIII. Warum betrubst du
DICH, MEIN Herz. Fifteenth Sunday after
Trinity {c. 1740')
A Choral Cantata, on the Hymn "Warum
betrubst du dich, mein Herz" attributed to Hans
Sachs (see Cantata 47). The tune which Bach
uses in the first, third, and, last movements is
that of the Hymn (see Cantata 47).
^ Rust dates it c. 1730.
CANTATA CXXXVIII 401
(«)
The Choral in the opening movement is the
first stanza of the Hymn :
Warum betriibst du dich, mein Herz?
Bekiiminerst dich und tragest Schmerz
Nur um das zeitliche Gut?
Vertrau' du deinem Herren Gott',
Der alle Ding" erschaffen hat.
B.G. xxviii. 199.
Form. Choral Fantasia, with orchestral and
Recitativo interludes (2 Ob. d'amore, Strings, Con-
tinuoy.
The Choral in the third movement is the second
stanza of the Hymn :
Er kann und will dich lassen^ nicht ;
Er weiss gar wohl, was dir gebricht:
Himmel und Erd' ist sein !
Dein* Vater und dein* Herre Gott,
Der dir^ beisteht in aller Noth.
B.G. xxviii. 205.
Form. The Choral (S.A.T.B.) is prefaced and its
sequence is broken by the interposition of Recitativo
passages (2 Ob. d'amore, Strings, Continuoy.
' c. 1560 Herren uiind Gott.
^ See Spitta, in. 88, on the movement. It has relations with
the Dialogus type.
^ t. 1560 dich verlassen. * c. 1560 Mein.
^ I. 1560 mir.
T. B. C. 36
402
CANTATA CXXXIX
The words of the concluding movement are the
third stanza of the Hymn :
Weil dn mein Gott und Vater bist,
Dein Kind wirst du verlassen nicht,
Du vaterliches Herz !
Ich bin ein armer Erdenkloss,
Auf Erden weiss ich keinen Trost.
B.G. xxviii. 217.
Form. Choral Fantasia (2 Ob. d' amove, Strings,
Continue).
Cantata CXXXIX. Wohl dem, der sich auf
SEINEN Gott. Twenty-third Sunday after
Trinity (c. 1740)
Melody: "Mack's mit mir, Gott, nach deiner Giif"
Johann Hermann Schein 162S
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A Choral Cantata, on Johann Christoph Rube's,
or Ruben's, Hymn, "Wohl dem, der sich auf
seinen Gott," first published in Andreas Luppius'
Anddchtig Singejtder Christen-Mund (\N ese\, 1692),
and, to its own melody, in the 1694 edition of the
Dresden Hundert A rien.
CANTATA CXXXIX 4O3
Rube was born in 1665, his father being then
pastor near Sondershausen. He was appointed
judge (Amtmann) at Burggemiinden, near Alsfeld,
and from about 1704 held a similar appointment
at Battenberg. He died at Battenberg in 1746.
The melody to which Bach sets the Hymn in
the first and last movements is associated with it in
the 1709 edition of Cruger's Praxis. It was com-
posed by Johann Hermann Schein for his Hymn,
" Mach's mit mir, Gott, nach deiner Gut'," with
which it was published in a broadsheet at Leipzig
in 1628 as a " Trost-Liedlein " for five voices.
The melody occurs also in Cantata 1 56 and in
the " St John Passion," No. 22. There is another
harmonisation of it in the Choralgesdnge, No. 237.
The B flat which Bach substitutes for A natural
as the third note of the tune has earlier (17 14)
authority.
{a)
The words of the opening movement are the
first stanza of Rube's Hymn :
* Wohl dem, der sich auf seinen Gott
Recht kindlich kann verlassen !
Den mag gleich Siinde, Welt und Tod,
Und alle Teufel hassen,
So bleibt er dennoch wohl vergniigt,
Wenn er nur Gott zum Freunde kriegt.
B.G. xxviii. 225.
26—2
404 CANTATA CXL
Form. Choral Fantasia (2 Ob. d'amore, Strings,
Organ, Continuoy.
The words of the concluding Choral are the
fifth stanza of the Hymn :
* Dahero Trotz der Hollen Heer !
Trotz auch des Todes Rachen !
Trotz aller Welt ! mich kann nicht mehr
Ihr Pochen traurig machen !
Gott ist mein Schutz, mein Hiilf und Rath :
Wohl dem, der Gott zum Freunde hat.
B.G. xxviii. 248.
Form. Simple (2 Ob. d'amore. Strings, Con-
tinud). Choralgesdnge, No. 238.
Cantata CXL. Wachet auf, ruft uns die
Stimme^. Twenty-seventh Sunday after
Trinity = (1731^)
Melody : '' Wachet auf, ruft uns die Stimme"
?Philipp Nicolai 1599
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2 English versions of the Cantata are published by Novello & Co.,
"Sleepers, wake! for night is flying," and Breitkopf & Haertel,
"Sleepers wake, loud sounds the warning.''
•■ The Sunday, only occurring when Easter falls early, becomes
the Sunday before Advent. ^ Rust dates it 1742.
CANTATA CXL
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A Choral Cantata', on Philipp Nicolai's Hymn,
" Wachet auf, ruft uns die Stimme," first published
in his Frewden Spiegel dess ewigen Lebens (Frankfort
a. Main, 1599), with the melody. The Hymn is a
reversed acrostic, the initial letters of its three
stanzas, W. Z. G., standing for " Graf zu Waldeck,"
Nicolai's former pupil, who died in 1598, aged
fifteen. The Hymn probably was written in 1 597,
during the pestilence at Unna in Westphalia, where
Nicblai then was pastor.
The melody was published with the Hymn in
1599. Whether Nicolai composed it cannot be
determined positively. As in the case of his " Wie
schon leuchtet der Morgenstern " (see Cantata i), it
is probable that he adapted old material to his
purpose. It may be observed that the opening line
of "Wachet auf" is identical with the opening line
of "O Lamm Gottes^" and that the Hymn ends
with the words, "in dulci jubilo," a Hymn the
beginning of whose melody is practically identical
with "Wachet auf," except in metre.
' See supra, p. 32.
' See infra, p. 495.
406 CANTATA CXL
The melody does not occur elsewhere in the
Cantatas, Oratorios, or Motetts. Organ Works,
N. xvi. I. Bach's variation of the second line of
the tune is not revealed by Zahn as having earlier
sanction.
(a)
The words of the opening movement are the
first stanza of Nicolai's Hymn :
Wachet auf! ruft uns die Stimme
Der Wachter sehr hoch auf der Zinne :
Wach auf, du Stadt Jerusalem !
Mitternacht heisst diese Stunde ;
Sie rufen uns mit hellem Munde :
Wo seid ihr klugen Jungfrauen ?
Wohl auf ! der Brautigam kommt !
Steht auf! die Lampen nehmt !
AUeluja !
Macht euch bereit zu der Hochzeit,
Ihr miisset ihm entgegen gehn.
B.G. xxviii. 251.
Translations of the Hymn into English are
noted in the Dictionary of Hymnology, pp. 806, 161 3,
1722.
Form. Choral Fantasia {Corno, 2 Ob., Taille^,
Strings {including Violino piccolo), Continuo).
^ The Taille was a Tenor Bassoon.
CANTATA CXL 407
(*)
The words of the fourth movement are the
second stanza of Nicolai's Hymn :
Zion hort die Wachter singen ;
Das Herz thut ihr vor' Freuden springen :
Sie wachet, und steht eilend auf.
Ihr Freund kommt vom Himmel prachtig,
Von Gnaden stark, von Wahrheit machtig :
Ihr Licht wird hell, ihr Stern geht auf.
Nun komm, du werthe Kron',
Herr Jesu, Gottes Sohn !
Hosianna !
Wir folgen All' zum Freudensaal,
Und halten mit das Abendmahl.
B.G. xxviii. 274.
Form. Unison Choral for Tenor ( Vn. I and II
and Viola in unison, Continuoy.
The words of the concluding Choral are the
third stanza of Nicolai's Hymn :
Gloria sei dir gesungen
Mit Menschen und englischen Zungen,
Mit Harfen und mit Cymbeln schon.
Von zwolf Perlen sind die Pforten
An deiner Stadt ; wir sind Consorten
Der Engel hoch um deinen Thron.
) von.
The movement is No. i of the Schubler Chorals (N. xvi. i).
408 CANTATA CXLII
Kein Aug" hat je gespurt,
Kein Ohr hat je' gehort
Solche Freude.
Dess sind wir froh, lo ! lo !
Ewig in dulci jubilo.
B.G. xxviii. 284.
Form. Simple {Corno, 2 Ob., Taille, Strings
(including Violino piccolo), Continuo). Choral-
gesdnge. No. 329.
Cantata CXLII. Uns ist ein Kind geboren^.
Christmas Day (1712 or 1714)
The words and melody of the concluding Choral
are those of Caspar Fuger's Christmas Hymn,
" Wir Christenleut' " (see Cantata 40).
The words are the fifth stanza of the Hymn :
Alleluja,
Gelobet sei Gott'!
Singen wir all' aus unsers Herzens Grunde :
Denn Gott hat heut'
Gemacht solch' Freud',
Der wir vergessen soll'n zu keiner Stunde.
B.G. XXX. 40.
Form. Extended {Flauti, Oboi, Strings, Con-
tinud).
' 1599 mehr.
'^ Bach's authorship of this Cantata has been challenged (Bach-
jahrbuch, 1912, p. 1^2).
^ 1592 Alleluia. Bach's line appears in a text of 1593.
CANTATA CXLIII 409
Cantata CXLIII. Lobe den Herrn, meine
Seele. Feast of the Circumcision (New
Year's Day) (1735)
(a)
The melody of the second movement is Bar-
tholomaus Gesius' setting of Jakob Ebert's Hymn
for Peace, " Du Friedefurst, Herr Jesu Christ " (see
Cantata 67).
The words are the first stanza of the Hymn' :
Du Friedefurst, Herr Jesu Christ,
Wahr'r Mensch und wahrer Gott,
Ein starker Nothhelfer du bist
Im Leben und im Tod.
Drum wir allein
Im Namen dein
Zu deinem Vater schreien.
B.G. XXX. 53.
Form. Unison Choral for Soprano {Violini,
Continuo).
In the sixth movement, a Tenor Aria, the
melody is played by the Violins and Violas in
octaves {Fagotto, Strings, Continuo). The words
are not a stanza of the Hymn.
' The subject was suggested, no doubt, by the War of the PoHsh
Election, in which Bach's sovereign, Augustus III of Poland-
Saxony, was closely interested. The war was brought to a con-
clusion in his favour in 1735.
410 CANTATA CXLIV
The words of the concluding movement are the
third stanza of Ebert's Hymn :
Gedenk', Herr Jesu>, an dein Amt,
Dass du ein Friedfiirst bist,
Und hilf uns gnadig allesammt
Jetzt und zu dieser Frist ;
\ Lass uns hinfort
Dein gottlich Wort
In Fried' noch langer horen^.
B.G. XXX. 66.
Form. Choral Fantasia (3 Cor. da caccia.
Timpani, Fagotto, Strings, Continue). The cantus
is in the Soprano part. The other voices accompany
on the single word " Halleluja."
Cantata CXLIV. Nimm, was dein ist, und
GEHE HIN. Septuagesima Sunday {c. 1725)
(«)
The words and melody of the third movement
are those of Samuel Rodigast's Hymn, " Was Gott
thut, das ist wohlgethan " (see Cantata 12).
The words are the first stanza of the Hymn :
Was Gott thut, das ist wohlgethan,
Es bleibt gerecht sein Wille ;
Wie er fangt meine Sachen an,
Will ich ihm halten stille.
' 1601 itzundt. ^ 1601 schallen. '
CANTATA CXLIV 41 1
Er ist mein Gott, der in der Noth
Mich wohl weiss zu erhalten :
Drum lass' ich ihn nur walten.
B.G. XXX. 87.
Form. Simple {Continuo). Ckoralgesdnge, No.
338.
(*)
The words and melody of the concluding Choral
are those of Albrecht Margrave of Brandenburg-
Culmbach's Hymn, "Was mein Gott will, das
g'scheh' allzeit" (see Cantatas 65 and 72).
The words are the first stanza of the Hymn :
Was mein Gott will, das g'scheh' allzeit,
Sein Wille' ist der beste^;
Zu helfen den'n er ist bereit.
Die an ihn glauben feste.
Er hilft aus Noth,
Der fromme Gott,
Und ziichtiget' mit Maassen.
Wer Gott vertraut,
Fest auf ihn baut.
Den will er nicht verlassen.
B.G. XXX. 92.
Form. Simple {Continuo). Ckoralgesdnge, No.
343-
1 Bach's MS. Will der.
^ <^. 1554 der ist der aller beste.
' c. 1554 Er trost die Welt.
412
CANTATA CXLV
Cantata CXLV. So du mit deinem Munde
BEKENNEST Jesum. Easter Tuesday' (1729
or I 730)
Melody: '■'■Jesus, meirie Zuversicht"
? Johann Criiger 1653
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{a)
The melody of the opening Choral, set to Luise
Henrlette Electress of Brandenburg's Hymn,
' The Cantata is marked merely "Am Osterfeste." Its relation
to the Gospel for Easter Tuesday reveals the particular occasion for
which it was written. See Spitta, ll. 442 n. He quotes the Cantata
by the title of the opening Choral, "Auf, mein Herz ! des Herren
Tag."
CANTATA CXLV 413
"Jesus, meine Zuversicht," was published in 1653
in Christoph Runge's GeistlicheLiederund Psalmen
(Berlin) and in the Berlin edition of Johann Criiger's
Praxis Pietatis Melica. The melody is generally
attributed to Criiger and was published in 1668,
after his death, with his initials attached to it.
Perhaps the Praxis version (the second supra) is
a reconstruction of the Runge melody.
The melody does not occur elsewhere in the
Cantatas, Oratorios, or Motetts. There is another
harmonisation of it in the Choralgesdnge, No. 208,
where, as here. Bach uses the tune in its Praxis
form. His variation of notes 3 and 4 of the second
bar of it {supra) has earlier (1704) sanction. His
treatment of bar 3 varies here and in the Choral-
gesdnge. Organ Works, N. xviii. 69.
The words of the Choral are the first stanza of
Caspar Neumann's Easter Hymn, " Auf, mein Herz,"
published in the Breslau Vollstdndige Kirchen- und
Haus-Music (Breslau, c. 1700) to the melody,
"Jesus, meine Zuversicht" {supra):
* Auf, mein Herz ! des Herren Tag
Hat die Nacht der Furcht vertrieben :
Christus, der im Grabe lag,
1st im Tode nicht geblieben.
Nunmehr bin ich recht getrost't,
Jesus hat die Welt erlost. B.G. xxx. 95.
Form. Simple'. Choralgesdnge, No. 209.
' The orchestration is not stated.
414 CANTATA CXLVI
(^)
The words and melody of the concluding Choral
are those of Nicolaus Herman's Easter Hymn,
" Erschienen ist der herrlich' Tag " (see Cantata Sy).
The words are the fourteenth stanza of the
Hymn :
Drum wir auch billig frohlich sein,
Singen das Halleluja fein,
Und loben dich, Herr Jesu Christ ;
Zu Trost du uns erstanden bist.
Halleluja ! B.G. xxx. 122.
Form. Simfile (Continuo). Ckora/gesange, No. 84.
Cantata CXLVI. Wir mussen durch viel
Trubsal in das Reich Gottes eingehen.
Third Sunday after Easter ("Jubilate")
(c. 1740)'
The melody of the concluding Choral (B.G.
xxx. 190) is Johann Schop's " Werde munter, mein
Gemiithe" (see Cantata 55). The words of the
Choral are lacking in the MS. and in the B.G.
Score.
Form. Simple".
' In the Cantata Bach uses the Allegro of the Concerto for two
Violins or Clavier (D minor) as a syinphony, and the Chorus that
follows is its Adagio section. Bach, uses the same Concerto in
Cantata No. 188. See also Nos. 49, no, 169, 174. Bach's author-
ship of Cantata 146 has been challenged (Bachjahrbuch, 1912).
" Only the vocal parts are printed in the Score.
CANTATA CXLVII 415
Cantata CXLVII. Herz und Mund und
That und Leben. Feast of the Visitation
of the B.V.M.i (1716)
The melody of the two Choral movements, the
sixth and the last, of the Cantata is Johann Schop's
"Werde munter, mein Gemiithe" (see Cantata 55).
The words of both Choral movements are from
Martin Janus', or Jahn's, "Jesu, meiner Seelen
Wonne," first published, to Schop's "Werde
munter" {piprd), in the Frommer Christen Tdg-
liches Bet-Kdmmerlein (Gorlitz, 1661). The Hymn
is sometimes attributed erroneously to Johann
Scheffler (1624-77).
Janus was born c. 1620 and probably was a
native of Silesia. He was precentor at Sorau and
later at Sagan. He died about 1682 at Ohlau,
where he is said to have been precentor.
(a)
The words of the sixth movement are the sixth
stanza of Janus' Hymn :
Wohl mir, das ich Jesum habe,
O wie feste halt' ich ihn,
Dass er mir mein Herze labe,
Wenn ich krank und traurig bin.
^ Spitta, H. 412, states that the Cantata was written originally
for the Fourth Sunday in Advent and was adjusted to the Visitation
Feast at Leipzig, where there was no opportunity for its use on
the Sunday for which it was composed.
4l6 CANTATA CXLVIII
Jesum haV ich, der mich liebet
Und sich mir zu eigen giebet'.
Ach drum lass' ich Jesum nicht,
Wenn mir gleich mein^ Herze bricht.
B.G. XXX. 213.
An English translation of the Hymn is noted
in the Dictionary of Hymnology, p. 579.
Form. Extended (Tromba, Oboi, Strings, Con-
tinue').
The words of the concluding Choral are the
seventeenth stanza of Janus' Hymn :
Jesus bleibet meine Freude,
Meines Herzens Trost und Saft,
Jesus wehret' allem Leide,
Er ist meines Lebens Kraft,
Meiner Augen Lust und Sonne,
Meiner Seele Schatz und Wonne,
Darum lass'* ich Jesum nicht
Aus dem Herzen und Gesicht. B.G. xxx. 229.
Form. Extended {Tromba, Oboi, Strings, Con-
tinue').
Cantata CXLVHI. Bringet dem Herrn
Ehre seines Namens. Seventeenth Sunday
after Trinity (c. 1725)
The melody of the concluding Choral is the
anonymous " Auf meinen lieben Gott," or " Wo
soil ich fliehen hin " (see Cantata 5).
' 1661 Und sein Leben fiir mich giebet. " 1661 das.
' 1 66 1 steuret. * 1661 O ! drumb lass.
CANTATA CXLIX
417
The words of the concluding Choral are the
eleventh stanza of Johann Heermann's Lenten
Hymn, " Wo soil ich fliehen hin '' (see Cantata 5)^ :
Fiihr" auch mein Herz und Sinn
Durch deinen Geist dahin,
Dass ich mog' alles meiden,
Was mich und dich kann scheiden,
Und ich an deinem Leibe
Ein Gliedmass ewig bleibe. B.C. xxx. 260.
Form. Simple {Continud). Choralgesdnge, No. 29.
Cantata CXLIX. Man singet mit Freuden
VOM SlEG". Feast of St Michael the Arch-
angel (173 1)
Melody: ''^ Herzlich lieb hab' ick dich, O Herr" Anon. 1577
^ The words are lacking in the MS. The introduction of the
eleventh stanza of Heermann's Hymn in the B.G. Score is in
accordance with Spitta's suggestion (ll. 694). Erk, No. 13, proposes
stanza vi of Sigismund Weingartner's (?) " Auf meinen lieben Gott " :
Amen ! zu aller Stund'
Sprech' ich aus Herzensgrund :
Du woUest selbst uns leiten,
Herr Christ, zu alien Zeiten,
Auf dass wir deinen Namen
Ewiglich preisen. Amen !
2 An English version of the Cantata, "Let songs of rejoicing be
raised," is published by Novello & Co. See Spitta, 11. 445, on the
source of the Cantata.
T. B. C.
27
4i8
CANTATA CXLIX
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The melody, " Herzlich lieb hab' ich dich, O
Herr," which Bach uses in the concluding Choral,
was first published in Bernhard Schmidt's Zwey
Bucher Einer Neuen Kunstlichen Tabulatur auf
Orgel und Instrument (Strassburg, 1577). The
germ of it had appeared six years before in Newe
Symbola etlicher Fursten (Niirnberg, 1571), where
it is set to the Hymn whose name it bears'.
The melody occurs also in Cantata 174 and in
the " St John Passion," No. 37. There is another
harmonisation of it in the Choralgesdnge, No. 152.
Bach's treatment of the tune is not uniform in the
four places in which he employs it. There does
not appear to be earlier authority for the F sharp
which he substitutes for F natural at the fifth and
thirteenth notes (supra) in this movement, nor does
he repeat it elsewhere.
The words of the concluding Choral are the
third stanza of Martin Schalling's Hymn for the
Dying, " Herzlich lieb hab' ich dich, O Herr," first
published in 1571 {supra):
' See Bach's Chorals, Part I, p. 39.
CANTATA CLI
419
Ach Herr, lass dein' lieb' Engelein
Am letzten End' die Seele mein'
In Abraham's Schoos tragen ;
Den Leib in seim Schlafkammerlein
Gar sanft, ohn' ein'ge Qual und Pein,
Ruh'n bis am jUngsten Tage !
Alsdann vom Tod erwecke mich,
Dass meine Augen sehen dich
In aller Freud', O Gottes Sohn,
Mein Heiland und mein Gnadenthron !
Herr Jesu Christ, erhore mich,
Ich will dich preisen ewiglich !
B.G. XXX. 299.
Translations of the Hymn into English are
noted in the Dictionary of Hymnology,-^'^. 1004, 1648.
Form. Embellished (3 Trombe, Tinip., 3 Ob.,
Fagotto, Strings, Continuo). Choralgesdnge, No. 155.
Cantata CLI. Susser Trost, mein Jesus
KOMMT. Feast of St John the Evangelist
(Christmas) (c. 1740)
Melody : " Lobt Gott, ihr Christen alle gleich"
Nicolaus Herman 1554
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420 CANTATA CLI
The words and melody of the concluding Choral
are Nicolaus Herman's Christmas Hymn, " Lobt
Gott, ihr Christen alle gleich," written c. 1554, and
first published in Herman's Die Sontags Euangelia
uber das gantze Jar (Wittenberg, 1560), where it is
set to the melody printed above.
The melody, of which Herman was the composer,
appeared first in a broadsheet published in I5S4-
It is set there to his own words :
Kommt her, ihr lieben Schwesterlein,
An diesen Abendtanz;
Lasst uns ein geistlichs Liedelein
Singen um einen Kranz.
The melody occurs also in Cantata 195 and
there are harmonisations of it in the Ckoralgesdnge,
Nos. 233, 234. Organ Works, N. xv. 29; xviii. 74.
Bach's version of the tune practically was established
before the end of the sixteenth century.
The words of the concluding Choral are the
eighth stanza of Herman's Hymn :
Heut' schleusst er wieder auf die Thiir
Zum schonen Paradeis,
Der Cherub steht nicht mehr dafiir ;
Gott sei Lob, Ehr' und Preis !
B.G. xxxii. 16.
Translations of the Hymn are noted in the
Dictionary of Hymnology, p. 514.
Form. Simple {Flauto, Oboe d'amore. Strings,
Continue). Ckoralgesdnge, No. 235.
CANTATA CLIII 42 1
Cantata CLIII. Schau', lieber Gott, wie
MEINE Feind'. Sunday after the Circum-
cision (1724)
(a)
For the melody of the opening Choral, "Ach
Gott, vom Himmel sieh' darein," see Cantata 2.
The words of the Choral are the first stanza of
David Denicke's (?) Hymn, " Schau', lieber Gott, wie
meine Feind'," first published in the New Ordentlich
Gesang-Buch (Hanover, 1646), to the tune, "Ach
Gott, vom Himmel" (supra) :
Schau', lieber Gott, wie meine Feind',
Damit ich stets muss kampfen.
So listig und so machtig seind,
Dass sie mich leichtlich dampfen !
Herr, so mich deine Gnad' nicht halt,
So kann der Teufel, Fleisch und' Welt
Mich leicht in Ungliick stUrzen^.
B.G. xxxii. 43.
Form. Simple {Strings, Continud). Choral-
gesdnge, No. 5.
For the melody of the fifth movement, Hans
Leo Hassler's " Herzlich thut mich verlangen," see
Cantata 135.
1 1646 und die, Bach's text follows the edition of 1652.
2 1646 Das Fleisch geschwind verfiihren. In the 1652 edition the
line reads : Mich leicht in sUnde stiirtzen.
422 CANTATA CLIII
The words of the Choral are the fifth stanza of
Paul Gerhardt's Hymn, " Befiehl du deine Wege,"
first published in the Berlin (1653) edition of the
Praxis Pietatis Melica. The Hymn is an acrostic
on Luther's version of Psalm xxxvii. 5, "Befiehl
dem Herren dein Weg und hoff auf ihn, er wirds
wol machen," formed by the initial words of the
stanzas. It was published to another melody, but
was generally sung to Hassler's tune {supra) :
Und obgleich alle Teufel
Dir^ woUten widerstehn,
So wird doch ohne Zweifel
Gott nicht zuriicke gehn.
Was er ihm furgenommen
Und was er haben will,
Das muss doch endlich kommen
Zu seinem Zweck und Ziel.
B.G. xxxii. 46.
English translations of the Hymn are noted in
the Dictionary of Hymnology, pp. 125, 161 1.
Form. Simple {Strings, Continuo). Choral-
gesdnge. No. 160.
{c)
For the melody of the concluding Choral, the
anonymous " Herr Jesu Christ, mein's Lebens
Licht," or " Ach Gott, wie manches Herzeleid," see
Cantata 3.
' 1653 Hie.
CANTATA CUV 423
The words of the Choral are the eleventh and
twelfth stanzas of Martin Holler's (?) Hymn, "Ach
Gott, wie manches Herzeleid" (see Cantata 3),
arranged as three verses :
Drum will ich, weil ich lebe noch,
Das Kreuz dir frohlich tragen nach ;
Mein Gott, mach' mich darzu bereit ;
Es dient zum Besten allezeit.
Hilf mir mein' Sach' recht greifen an,
Dass ich mein Lauf voUenden kann,
Hilf mir auch zwingen Fleisch und Blut,
FUr Siind und Schanden mich behijt' !
Erhalt' mein Herz im Glauben rein.
So leb' und sterb' ich dir allein;
Jesu, mein Trost, hor mein Begier,
O mein Heiland, war' ich bei dir!
B.C. xxxii. 58.
Form. Simple {Strings, Continuo). Choral-
gesdnge. No. 9.
Cantata CLIV. Mein liebster Jesus ist
VERLOREN. First Sunday after the Epiphany
(1724)
(a)
For the melody of the third movement, Johann
Schop's "Werde munter, mein Gemiithe," see
Cantata 55.
The words of the Choral are the second stanza
of Martin Janus' Hymn, "Jesu, meiner Seelen
Wonne" (see Cantata 147) :
424 CANTATA CLIV
Jesu, mein Hort und Erretter,
Jesu, meine Zuversicht,
Jesu, starker Schlangentreter,
Jesu, meines Lebens Licht !
Wie verlanget meinem Herzen,
Jesulein, nach dir mit Schmerzen!
Komm', ach komm', ich warte dein,
Komm', O liebstes Jesulein !
B.G. xxxii. 65.
Form. Simple (2 Ob., Strings, Continuo).
Choralgesdnge, No. 365.
For the melody of the concluding Choral,
Andreas Hammerschmidt's (?) "Meinen Jesum lass'
ich nicht," see Cantata 70.
The words of the Choral are the sixth stanza of
Christian Keimann's Hymn, " Meinen Jesum lass'
ich nicht " (see Cantata 70) :
Meinen Jesum lass' ich nicht',
Geh' ihm ewig an der Seiten ;
Christus lasst mich fur und fur
Zu dam Lebensbachlein leiten.
Selig, der^ mit niir so spricht :
Meinen Jesum lass' ich nicht !
B.G. xxxii. 82.
Form. Simple (2 Ob., Strings, Continuo).
Choralgesdnge, No. 244.
' 1659 Jfisum lass ich nicht von mir.
^ 1659 wer.
CANTATA CLV 425
Cantata CLV. Mein Gott, wie lang', ach
LANGE. Second Sunday after the Epiphany
(1715)
The words and melody of the concluding Choral
are those of Paul Speratus' Hymn, " Es ist das Heil
uns kommen her " (see Cantata 9).
The words are the twelfth stanza of the Hymn :
Ob sich's anliess', als woUt" er nicht,
Lass dich es nicht erschrecken;
Denn wo er ist am besten mit,
Da will er's nicht entdecken ;
Sein Wort lass dir' gewisser sein,
Und ob dein Herz* sprach' lauter Nein ;
So lass doch dir nicht grauen.
B.G. xxxii. 96.
Form. Simple (Strings, Continuo). Choral-
gesdnge. No. 88.
Cantata CLVI. Ich steh' mit einem Fuss
IM Grabe. Third Sunday after the Epiphany
(1729-30)
(a)
The melody of the second movement is Johann
Hermann Schein's " Mach's mit mir, Gott, nach
deiner Giit'" (see Cantata 139).
The words of the Choral are the first stanza
of Schein's Hymn. It was written in 1628 for
the funeral of Margarita Werner, the wife of a
1 1524 das las dir. ^ 15^4 fleisch.
426
CANTATA CLVI
Leipzig Town Councillor, and was published in
that year as a broadsheet, with the tune. The
Hymn is an acrostic ; the initial letters of the first
and third lines in stanzas i-iv spell the name
" Ma-r-g-a-r-i-t-a," and the initial W of stanza v
stands for " Werner " :
Mach's mit mir, Gott, nach deiner Giit',
Hilf mir in meinem Leiden.
Was ich dich bitt'^ versag" mir nicht !
Wenn sich main' Seel' soil" scheiden,
So nimm sie, Herr, in deine Hand' :
1st Alias gut, wenn gut das End'.
B.G. xxxii. loi.
Translations of the Hymn are noted in the
Dictionary of Hymnology, p. 1008.
Form. "Arie mit Choral" for Soprano and
Tenor, i.e. a Duetto, the Soprano having the cantus
and the Tenor an independent subject to other
words {Vn. I and II and Violain unison, ContinuoY-
Melody: ^^ Herr, wie du willt" Anon. 1525
TT — m~F-^f~w~f'f^ " ^rf^ai'fn — •
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' See Spitta, 11. 441, on the movement.
CANTATA CLVI 427
(^)
The melody of the concluding Choral was first
published in 1525 in the Strassburg Ordnung des
Herren Nachtmal, and also, with a slight alteration',
in the Strassburg Teutsch Kircheampt mit lobgsengen,
un gotlichen psalvten in the same year. It was set in
both to Luther's " Aus tiefer Noth," but is generally
associated with Bienemann's Hymn {infra) in the
Hymn books. Bienemann's Hymn has a later
(1648) melody of its own, which is less familiar.
The melody does not occur elsewhere in the
Cantatas, Oratorios, or Motetts. There is another
harmonisation of it in the Choralgesdnge, No. 151.
The words of the Choral are the first stanza of
Caspar Bienemann's Hymn, " Herr, wie du willt, so
Schick's mit mir " (see Cantata 73) :
Herr, wie du will't, so Schick's mit mir
Im Leben und im Sterben ;
AUein zu dir steht mein Begehr,
Herr, lass mich^ nicht verderben !
Erhalt' mich nur in deiner Huld:
Sonst, wie du will't, gieb mir Geduld ;
Dein Will' der^ ist der beste.
B.G. xxxii. 114.
Form. Simple {Oboe, Strings, Continuo).
Choralgesdnge, No. 150.
' The penultimate note of the. third bar is C instead of B.
^ 1582 Lass mich, Herr. ' 1582 Denn dein Will.
428 CANTATA CLVII
Cantata CLVII. Ich lasse dich nicht, du
SEGNEST MICH DENN. Purification of the
B.V.M.i (1727)
The words and melody of the concluding Choral
are those of Christian Keimann's Hymn, " Meinen
Jesum lass' ich nicht " (see Cantata 70).
The words are the sixth stanza of the Hymn :
Meinen Jesum lass' ich nicht ^,
Geh' ihm ewig an der Seiten;
Christus lasst mich fiir und fur
Zu dem Lebensbachlein leiten ;
SeUg, wer mit mir so spricht :
Meinen Jesum lass' ich nicht !
B.G. xxxii. 140.
Form. Simple (Flauto, Oboe, Strings, Continuo).
Cheralgesdnge, No. 245.
Cantata CLVIII. Der Friede sei mit dir.
Purification of the B.V.M. and Easter Tuesday'
(c. 1708-17)
(«)
The Choral in the second movement is Johann
Georg Albinus' Hymn, " Welt, ade ! ich bin dein
miide" (Cantata 27). For Johann Rosenmiiller's
melody, see Cantata 27.
^ See Spitta, 11. 411, Bach performed the Cantata at a funeral
four days after using it at the Feast of the Purification.
2 1659 Jesum lass ich nicht von mir.
^ See Spitta, 11. 687, on the Cantata.
CANTATA CLVIII 429
The words of the Choral are the first stanza of
the Hymn :
Welt, ade ! ich bin dein miide,
Ich will nach dem Himmel zu ;
Da wird sein der rechte Friede
Und die ew'ge Seelenruh'^
Welt, bei dir ist Krieg und Streit,
Nichts denn lauter Eitelkeit,
In dem Himmel allezeit
Friede, Ruh'^ und Seeligkeit. B.G. xxxii. 144.
Form. "Arie mit Choral," i.e. Duetto, for
Soprano and Bass. The Soprano has the cantus
(Oboe, Violino solo, Continuo).
The words and melody of the concluding Choral
are Luther's " Christ lag in Todesbanden " (see
Cantata 4).
The words are the fifth stanza of the Hymn :
Hier ist das rechte Osterlamm,
Davon hat Gott' geboten,
Das ist hoch an* des Kreuzes Stamm
In heisser Lieb' gebraten :
Dess Blut zeichnet uns're Thiir,
Das halt der Glaub' dem Tode fur,
Der Wiirger kann uns nicht riihren.
Halleluja !
B.G. xxxii. 154.
Form. Simple {Continue). Choralgesdnge,'iio.i\.o.
^ 1668 stoUze Ruh. Bach follows the 1672 text.
1668 Freud. Bach follows the 1672 text.
' 1524 Gott hat. ' 1524 Das ist an.
430 CANTATA CLIX
Cantata CLIX. Sehet, wir geh'n hinauf
GEN Jerusalem. Quinquagesima ("Esto
Mihi") Sunday (? 1729)
(a)
For the melody of the second movement,
Hassler's "Herzlich thut mich verlangen," see
Cantata 135.
The words of the Choral are the sixth stanza of
Paul Gerhardt's Passiontide Hymn, " O Haupt voU
Blut und Wunden," first published in the 1656
(Frankfort) edition of Criiger's Praxis Pietatis
Melica :
Ich will hier bei dir stehen,
Verachte mich doch nicht !
Von dir will ich nicht gehen,
Bis' dir dein Herze bricht.
Wenn dein Haupt^ wird erblassen
Im letzten Todesstoss,
Alsdann will ich dich fassen
In meinen Arm und Schoos.
B.G. xxxii. 1 60.
Translations of the Hymn into English are
noted in the Dictionary of Hymnology, pp. 835, 1681.
Form. " Arie mit Choral" for Soprano and Alto,
i.e. a Duetto, the Soprano having the Choral melody
{Oboe, Fagotti, Continuo).
' 1656 Wann.
^ 1656 hertz. Bach's line is found in a 1667 text.
CANTATA CLIX
431
Melody : "^Jesu Kreuz, Leiden und Pein ''
Melchior Vulpius 1609: reconstruction 1682
2 * # J-M.
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The melody of the concluding Choral, Melchior
Vulpius' "Jesu Kreuz, Leiden und Pein,'' was first
published in 1609, set to Petrus Herbert's Hymn,
"Jesu Kreuz, Leiden und Fein'. In 1656 it was
associated with Paul Stockmann's "Jesu Leiden,
Pein und Tod," and a reconstruction of it, set to
Stockmann's Hymn, was published by Gottfried
Vopelius in his Nezv Leipziger Gesangbuch, Von den
sckonsten undbesten Liedern verfasset(Leipzig, 1682).
The melody occurs also in Cantata 182 and in
the "St John Passion," Nos. 11, 30, 32. Bach uses
it in its reconstructed form. The F sharp which he
substitutes for A natural at the seventh note in the
second bar (supra) has earlier sanction (1714).
His variation of the last bar is general to his use of
' See the melody in Bach's Chorals ^ Part I, p. 27.
432 CANTATA CLXI
the tune, and is found in an earlier (1714) text.
In the "St John Passion" (No. 30) he introduces a
C sharp at the sixth note of the first bar (supra).
The words of the Choral are the thirty-third
stanza of Paul Stockmann's Passiontide Hymn,
" Jesu Leiden, Pein und Tod," first published in his
Aller Christen Leib-Stucke (Leipzig, 1633) :
Jesu, deine Passion
1st mir lauter Freude,
Deine Wunden, Kron' und Hohn
Meines Herzens Weide ;
Meine Seel' und' Rosen geht,
Wenn ich d'ran gedenke,
In dem Himmel eine Statt'
Mir^ deswegen schenke !
B.G. xxxii. 168.
Form. Simple (Oboe, Strings, Continuo).
Choralgesdnge, No. 194.
Cantata CLXI. Komm, du susse Todes-
STUNDE. Sixteenth Sunday after Trinity
and Feast of the Purification of the B.V.M.
(171S)
For the melody of the concluding Choral,
Hassler's "Herzlich thut mich verlangen," see
Cantata 135.
The words of the Choral are the fourth stanza
of Christoph Knoll's funerary Hymn, " Herzlich
1 1633 auff. "- 1633 Uns.
CANTATA CLXI 433
thut mich verlangen." The Hymn is said to have
been written during a pestilence in 1599. It was
first printed at Goriitz in 1605 and also in the
Gorlitz Harmoniae sacrae (161 3), where it is set to
Hassler's tune.
Christoph Knoll was born at Bunzlau, in
Silesia, in 1563. He was successively schoolmaster,
Deacon, and Archdeacon at Sprottau, and from 1628
was pastor of the neighbouring village, Wittgendorf.
He died there in 1650 :
Der Leib zwar in der Erden
Von Wurmern wird verzehrt :
Doch auferweckt soil werden*
Durch Christum schon verklart ;
Wird leuchten als die Sonne
Und leben ohne Noth^
In himml'scher Freud' und Wonne.
Was schad't mir dann der Tod'?
B.C. xxxiii. 27.
A translation of the Hymn into English is
noted in the Dictionary of Hymnology, p. 629.
Form. Embellished (2 Fl., Strings, Continuo).
Choralgesdnge, No. 161.
Bach introduces (Sesquialtera ad Organo) the
melody in the opening Alto Aria, "Komm, du
siisse Todesstunde."
• 161 1 Dort wird erwecket werden.
2 161 1 ohn alle noth.
' 161 1 mir der Todt ?
T. B. C. 28
434
CANTATA CLXII
Cantata CLXII. Ach, ich sehe, jetzt da
ICH ZUR HOCHZEIT GEHE. Twentieth Sun-
day after Trinity (17 15)
Melody. ^'■Alle Menschen miissen sterben"
Bach's version 1715
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Melody: ^'■Jesu, der du meine Seele'
Johann Schop 164 1
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CANTATA CLXII
435
Melody: " Herr, ich habe missgehandelt"
Johann Criiger 1649
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Johann Rosenmiiller 1652
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The melody of the concluding Choral is one of
two which appear for the first time in Bach's
Church Cantatas'. Erk^, who prints it, describes it
as Johann Schop's "Jesu, der du meine Seele"
(1641) " nachgebildet." Spitta' declares it to be
1 See Cantata 133. - Vol. II. No. 159.
' Vol. III. 115.
426 CANTATA CLXII
" nothing more than a compound produced by the
fusion of the melodies, ' Herr, ich habe missge-
handelt' (1649) and 'Jesu, der du meine Seele'
(1641)." He adds: "I am now thoroughly con-
vinced of Bach being the author of this melody,
which occurs nowhere else." Spitta's confidence
is inadequately grounded. The Hymn, "Alle
Menschen miissen sterben," received in 1652 a five-
part setting, by Johann Rosenmiiller', of which the
tune printed supra is the descant melody. It is
clear that the tune is a derivative, and with great
probability may be regarded as the Tenor of an
original setting now lost. The German Hymn
books between 1652 and 17 15, the date of Bach's
Cantata, contain a large number of tunes to the
Hymn. One of them, dated 1674s is, as to the
first half of it, certainly constructed upon the Bass
of Rosenmiiller's setting. Whether Bach's is an
original variation or not, Spitta's suggestion that
he formed it by dissecting two other tunes by well
known composers may be discarded. Konig prints
in 1738 two versions of a tune closely related to
Bach's. All three probably are derived from a
common source. It was not in accordance with
Bach's rule to set a Hymn to a tune not in
1 Another tune printed by Erk, No. 158, as Rosenmiiller's is in
fact by Jakob Hintze (1622-1702).
^ Zahn, IV. No. 6777.
CANTATA CLXII 437
customary use with it. It is therefore improbable
that he should have gone out of his way to invent
a tune for a Hymn which had its own melody, with
one of which, too, he was familiar' The circum-
stances surrounding this case are, in fact, very similar
to those attending the doubtful melody in Cantata
133. Of both tunes a large number of variations
exist in the Hymn books, evidencing either their
composite origin, or their derivation from some
common original.
The melody does not occur elsewhere in the
Cantatas, Oratorios, or Motetts. In the Orgel-
biichlein, N. xv. 119, Bach treats a melody found
first in the Darmstadt Das grosse Cantional
(Darmstadt, 1687).
The words of the concluding Choral of the
Cantata are the seventh stanza of Johann Georg
Albinus' funerary Hymn, "Alle Menschen miissen
sterben." It was written and published for the
funeral of Paul von Henssberg, a burgher of
Leipzig, and was sung to Rosenmiiller's setting on
that occasion (June 1,1652). The broadsheet states
that both words and music were composed in
Henssberg's honour by Johann Rosenmiiller. The
statement would appear to be conclusive. On the
other hand, Rosenmiiller is not known as a Hymn
writer, and hymnologists unhesitatingly ascribe
^ Orgelbilchlein, N. xv. 119.
438
CANTATA CLXIII
the Hymn to Albinus, to whose other Hymn for
the Dying, " Welt, ade ! " Rosenmiiller also wrote
the music (see Cantata 27) :
Ach, ich habe schon erblicket
Diese grosse' Herrlichkeit !
Jetzund werd' ich schon geschmiicket
Mit dem weissen Himmelskleid,
Mit^ der guld'nen Ehrenkrone ;
Steh' ich da fiir^ Gattes Throne,
Schaue solche Freude an,
Die kein Ende nehmen kann* !
B.G. xxxiii. 46.
Translations of the Hymn into English are
noted in the Dictionary of Hymnology, p. 36.
Form. Simple {Corno da tirarsi, Fagotto,
Strings, Continuo). Choralgesdnge, No. 18.
Cantata CLXHI. Nur Jedem das Seine.
Twenty-third Sunday after Trinity (1715)
Melody: " Wo soil ich fliehen hin" ? Caspar Stieler 1679
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* 1652 Die ich nicht l/eschreiben kan.
CANTATA CLXIII 439
The melody of the concluding Choral was first
published in Caspar Stieler's DerBussfertige Sunder,
Oder Geistliches Hand-Biichlein (Niirnberg, 1679).
It is set there to Johann Heermann's Lenten Hymn,
" Wo soil ich fliehen hin " (see Cantata 5). Spitta'
describes the melody as Pachelbel's*. Zahn, on the
other hand, is of opinion that the anonymous tunes
in the Hand-Biichlein are by Stieler himself
Of Stieler, beyond the fact that he calls
Ahashuerus Fritsch his "Patron und Gevatter,"
nothing is known.
The melody occurs also in Cantata 199. The
tune, " Wo soil ich fliehen hin," which Bach treats
in the Organ Works, is more correctly styled,
"Auf meinen lieben Gott" (see Cantata 5).
The MS. of the Cantata and the B.G. Score
give no Hymn stanza. Spitta' is responsible for
the insertion of the eleventh stanza of Johann
Heermann's Lenten Hymn, " Wo soil ich fliehen
hin" (see Cantata 5), in the vocal Score:
Fiihr auch mein Herz und Sinn
Durch deinen Geist dahin,
Dass ich mog' AUes meiden,
Was mich von dir* kann scheiden,
Und ich an deinem Leibe
Ein Gliedmass ewig bleibe. [B.G. xxxiii. 64.]
1 Vol. I. 557.
'' Spitta incorrectly supposes that the melody is that of Cantata 5
in the major.
■' Vol. I. 557. ^ 1630' und dich.
440 CANTATA CLXIV
Form. Simple'. The melody is neither in Erk
nor the Choralgesdnge.
In the fifth movement of the Cantata (B.G.
xxxiii. 6i), a Duetto ("Arie") for Soprano and
Alto, the melody of Andreas Hammerschmidt's (?)
" Meinen Jesum lass' ich nicht " (see Cantata 70)
accompanies the singers. It is played by the
"Violini e Viola all' unisono." The melody is
suggested by the words of the movement, which,
however, are not a stanza of Christian Keimann's
Hymn.
Cantata CLXIV. Ihr, die ihr euch von
Christo NENNET. Thirteenth Sunday after
Trinity (1723 or 1724)
The words and melody of the concluding Choral
are from Elisabethe Cruciger's Christmas Hymn,
" Herr Christ, der einig' Gott's Sohn " (see Cantata
22).
The words are the fifth stanza of the Hymn :
Ertodt' uns durch dein' Giite,
Erweck' uns durch dein' Gnad' !
Den alten Menschen kranke,
Dass der neu leben mag,
Wohl hier auf dieser Erden
Der Sinn und all Begehrden,
Nur G'danken^ hab' zu dir. B.G. xxxiii. 88.
1 Only the figured Bass, under the title " Choral. In semplice
stylo," is given.
2 1524 Und dancken.
CANTATA CLXV 44 1
Form. Simple (2 Ob., Strings, Continud).
Choralgesdnge, No. 127.
In the second movement of the Cantata (B.G.
xxxiii. 75), the Bass Recitativo " Wie horen zwar,"
Bach gives a brief reference (Arioso) to the melody
" O Gott, du frommer Gott" (1693) (see Cantata 24).
The words are not a stanza of that Hymn.
Cantata CLXV. O heil'ges Geist- und Was-
SERBAD. Trinity Sunday (? 1724)
The words and melody of the concluding
Choral are from Ludwig Helmbold's Hymn, " Nun
lasst uns Gott dem Herren " (see Cantata 79).
The words are the fifth stanza of the Hymn :
Sein Wort, sein' Taufe, sein Nachtmahl
Dient wider alien Unfall :
Der heil'ge Geist im Glauben
Lehrt uns darauf vertrauen.
B.G. xxxiii. 104.
Form. Simple {Fagotto, Strings, Continue).
Choralgesdnge, No. 266.
Cantata CLXVI. Wo gehest du hin? Fourth
Sunday after Easter ("Cantate") (c. 1725)
{a)
For the melody of the third movement, the
anonymous " Herr Jesu Christ, du hochstes Gut/'
see Cantata 48.
442 CANTATA CLXVI
The words of the movement are the third stanza
of Bartholomaus Ringwaldt's Hymn, " Herr Jesu
Christ, ich weiss gar wohl," first published in Hand-
biichlein : Geistlicke Lieder und Gebetlin (Frank-
fort a. Oder, 1586 [1582], to the tune "Wenn
mein Stiindlein vorhanden ist." It is associated in
Wagner (1697) with the melody, " Herr Jesu
Christ " (supra) :
Ich bitte' dich, Herr Jesu Christ,
Halt' mich bei den Gedanken
Und lass mich ja zu keiner Frist
Von dieser Meinung wanken.
Sondern dabei verharen fest,
Bis dass die Seel' aus ihrem Nest
Wird in den Himmel kommen^.
B.G. xxxiii. 113.
Form. Soprano Unison Choral (" Violini e
Viola " in unison, Continuo).
(^)
The melody of the concluding Choral is Georg
Neumark's " Wer nur den lieben Gott lasst
walten" (see Cantata 21).
The words are the first stanza of Emilie Juliane
Countess of Schwarzburg-Rudolstadt's funerary
Hymn, "Wer weiss, wie nahe mir mein Ende"
(see Cantata 27) :
1 1586 So bitt ich. 2 ,g86 fahren.
CANTATA CLXVII 443
Wer weiss, wie nahe mir mein Ende,
Hit! geht die Zeit, her kommt der Tod.
Ach, wie geschwinde und behende
Kann kommen meine Todesnoth !
Mein Gott, ich bitt' durch Christi Blut,
Mach's nur mit meinem Ende gut !
B.G. xxxiii. 122.
Form. Simp\e{Odoe,Sirm£-SiContmuo). Choral-
gesdnge. No. 372.
Cantata CLXVII. Ihr Menschen, ruhmet
GOTTES LlEBE\ Feast of St John Baptist
{c. 1725)
The melody of the concluding Choral is Johann
Kugelmann's (?) " Nun lob', main' Seel', den
Herren " (see Cantata 17).
The words of the Choral are the fifth stanza of
Johann Graumann's Hymn, " Nun lob', mein' Seel',
den Herren " (see Cantata 29) :
* Sei Lob und Preis mit Ehren
Gott Vater, Sohn, heiliger Geist.
Der woU' in uns vemiehren,
Was er uns aus Genad' verheisst.
Dass wir ihm fest vertrauen,
Ganzlich verlassen auf ihn,
Von Herzen auf ihn bauen ;
Dass unser Herz, Muth und Sinn
1 An English version of the Cantata "Ye mortals, extol the love
of the Father," is published by Breitkopf & Haertel.
444 CANTATA CLXVIII
Ihm festiglich anhangen :
Darauf singen wir zur Stund'.
Amen, wir werden's erlangen,
Glaub'n wir aus Herzens Grund.
B.C. xxxiii. 140.
Form. Extended {Clarino, Oboe, Strings, Con-
tinuo).
Cantata CLXVIII. Thue Rechnung! Don-
NERWORT. Ninth Sunday after Trinity {c. 1725)
The words and melody of the concluding Choral
are Bartholomaus Ringwaldt's Lenten Hymn,
" Herr Jesu Christ, du hochstes Gut " (see Can-
tatas 48 and 113).
The words are the eighth stanza of the Hymn :
Stark' mich mit deinem Freudengeist,
Heil' mich mit deinen Wunden ;
Wasch' mich mit deinem Todesschweiss
In meinen letzten Stunden ;
Und nimm mich einst, wenn dir's gefallt,
In wahrem* Glauben von der Welt
Zu deinen Auserwahlten.
B.G. xxxiii. i66.
Form. Simple (2 Ob. d'amore. Strings, Con-
tinuo). Choralgesdnge, No. 143.
1 1588 rechten.
CANTATA CtXIX
445
Cantata CLXIX. Gott soll allein mein
Herze haben. Eighteenth Sunday after
Trinity (1731 or 1732)
Melody: '■^ Nun bitten wir den heiligen Geist"
Anon. 1534
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The words and melody of the concluding Choral
are Luther's Whitsuntide Hymn, " Nun bitten wir
den heiligen Geist," first published, words and
melody, in Johann Walther's Geystlicke gesangk
Buchleyn (Wittenberg, 1524). Undoubtedly the
melody is a reconstruction by Walther of the tune,
" Nu biten wir den heiligen Geist," one of the few
vernacular pre-Reformation Hymns.
The melody also occurs in Cantata 197, and
there is another harmonisation of it in the Choral-
gesdnge, No. 254.
The words of the Choral are the third stanza of
the Hymn, which, with stanzas ii and iv, Luther
446 CANTATA CLXXI
added to the original " Nu biten wir,'' which dates
certainly from the thirteenth century :
Du susse Liebe, schenk' uns deine Gunst,
Lass uns empfinden der Liebe Brunst,
Dass wir uns von Herzen einander lieben
Und in Frieden auf einem Sinn bleiben.
Kyrie eleison. B.G. xxxiii. 192.
Translations of the Hymn into English are
noted in the Dictionary of Hymnology, p. 821.
Porm. Simple (2 Ob., Taille^; Strings, Con-
tinual. Choralgesdnge, No. 256''.
Cantata CLXXI. Gott, wie dein Name, so
1ST AUCH DEIN RUHM. Feast of the Circum-
cision (New Year's Day) {c. 1730)
The words and melody of the concluding Choral
are Johann Hermann's New Year's Hymn, "Jesu,
nun sei gepreiset" (see Cantata 41).
The words are the third stanza of the Hymn :
Dein ist allein die Ehre,
Dein ist allein der Ruhm.
Geduld im Kreuz uns lehre,
Regier' all' unser Thun,
Bis wir getrost abscheiden
In's ew'ge Himmelreich'
Zum wahren Fried' und Freuden,
Den Heil'gen Gottes gleich.
^ The Taille was a Tenor Bassoon.
' Into this Cantata Bach incorporates the first two movements of
the E major clavier Concerto. See also Nos. 49, 110, 146, 174, 188.
' 1593 Vaters Reich.
CANTATA CLXXII 447
Indess mach's mit uns Allen
Nach deinem Wohlgefallen.
Solch's singet heut' ohn' Scherzen
Die Christglaubige Schaar,
Und wiinscht mit Mund und Herzen
Ein sel'ges neues Jahr. B.G. xxxv. 32.
Form. Extended (3 Trombe, Timp., 2 Ob.,
Strings, Continuo). Choralgesdnge, No. 204'.
Cantata CLXXII. Erschallet, ihr Lieder.
Whit Sunday (1724 or 1725)
The words and melody of the concluding Choral
are Philipp Nicolai's Hymn, " Wie schon leuchtet
der Morgenstern " (see Cantata i ).
The words are the fourth stanza of the Hymn :
Von Gott kommt mir ein Freudenschein,
Wenn du mit deinen Augelein
Mich freundlich thust anblicken.
O Herr Jesu, main traiites Gut,
Dein Wort, dein Geist, dein Leib und Blut
Mich innerlich erquicken.
Nimm mich freundlich
In dein' Arme, das ich warme
Werd' von Gnaden :
Auf dein Wort komm' ich geladen.
B.G. xxxv. 6g.
Form. EmbeUished {Fagotto, Strings, Continuo).
Choralgesdnge, No. 376.
^ Excepting a difference of key (C major instead of D major) the
movement is identical with the concluding Choral of Cantata 41.
In the Choralgesdnge the movement is printed in C major.
448 CANTATA CLXXIV
In the fifth movement of the Cantata (B.G.
XXXV. 62), the Soprano- Alto Duetto, " Komm, lass'
mich nicht langer warten," the Violin obbligato is a
very free treatment of the Whitsuntide melody,
" Komm, heiliger Geist, Herre Gott " (see Cantata
59), in an abridged form.
Cantata CLXXIV. Ich liebe den Hochsten
VON ganzem Gemuthe. Whit Monday (173 1
or 1732)
The words and melody of the concluding Choral
are Martin Schalling's funerary Hymn, " Herzlich
lieb hab' ich dich, O Herr " (see Cantata 149).
The words are the first stanza of the Hymn :
Herzlich lieb hab' ich dich, O Herr:
Ich bitt' : woU'st sein von mir nicht fern
Mit deiner Hilf > und Gnaden.
Die ganze Welt erfreut mich nicht^,
Nach Himm'l und Erde frag' ich nicht',
Wenn ich dich nur kann haben.
Herr*, wenn mir gleich mein Herz zerbricht,
So bist du doch^ mein' Zuversicht,
Mein Heil^ und meines Herzens Trost,
Der mich durch sein Blut hat eriost.
Herr Jesu Christ, mein Gott und Herr,
In Schanden lass mich nimmermehr !
B.G. XXXV. 157.
' 1571 gut. 2 1571 nit frewet mich.
' 1571 nit frag ich. ^ 1571 Und.
* 1571 doch du. 6 1571 theil.
CANTATA CLXXV 449
Form. Embellished (2 Ob., Taille^, Strings,
Continuo). Choralgesdnge, No. ,153^-
Cantata CLXXV. Er rufet seinen Schafen
MIT Namen. Whit Tuesday (? 1735)
For the melody of the concluding Choral,
" Komm, heiliger Geist, Herre Gott," see Can-
tata 59.
The words of the Choral are the ninth stanza
of Johann Rist's Hymn for the Sixth Sunday after
Easter, " O Gottes Geist, mein Trost and Rath,"
first published in his Sabbahtische Seelenlust (Lune-
burg, 1 651), to the melody, "Komm, heiliger
Geist " :
Nun, werther Geist, ich folg' dir ;
Hilf, dass ich suche fiir und fur
Nach deinem Wort ein ander Leben,
Das du mir willt aus Gnaden geben.
Dein Wort ist ja der Morgenstem,
Der herrlich leuchtet nah' und fern.
Drum will ich, die mich anders lehren,
In Ewigkeit, mein Gott, nicht horen.
Alleluja, Alleluja !
B.G. XXXV. 177.
Form. Embellished (3 FL, Strings, Continuo).
Choralgesdnge, No. 220.
' The Taille was a Tenor Bassoon.
^ The Introduction to the Cantata is the first movement of the
third Brandenburg Concerto.
T. B. C. 39
450 CANTATA CLXXVI
Cantata CLXXVI. Es ist ein trotzig und
VERZAGT Ding. Trinity Sunday (? 1735)
For the melody of the concluding Choral, Johann
Walther's(?) "Christ unser Herr zunm Jordan
kam," see Cantata 7.
The words of the Choral are the eighth stanza
of Paul Gerhardt's Hymn for Trinity Sunday,
" Was alle Weisheit in der Welt," first published in
the 1653 (Berlin) edition of Criiger's Praxis Pietatis
Melica, to the melody, " Christ unser Herr " :
Auf dass wir also allzugleich
Zur Himmelspforte dringen
Und dermaleinst in deinem Reich
Ohn' alles Ende singen :
Dass du alleine Konig seist,
Hoch liber alle Gotter,
Gott Vater, Sohn und heil'ger Geist,
Der Frommen Schufz und Ratter :
Ein Wesen, drei Personen.
B.G. XXXV. 198.
Translations of the Hymn into English are
noted in the Dictionary of Hymnology, p. 41 1.
Form. Simple (2 Ob., Oboe da caccia, Strings,
Continue). Choralgesdnge, No. 45.
CANTATA CLXXVII
45 1
Cantata CLXXVII. Ich ruf' zu dir, Herr
JESU Christ^ Fourth Sunday after Trinity
(1732)
Melody: '■'•Ich ruf zu dir, Herr Jesu Christ"
Anon. 153s
fe
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A Choral Cantata, on Johannes Agricola's
(Sneider) Hymn, " Ich ruf zu dir, Herr Jesu
Christ," pubHshed originally as a broadsheet, and
thence in Joseph Klug's Geistliche Liederzu Wittem-
^^r^ (Wittenberg, 1535 [1529])", with the melody.
Agricola was born at Eisleben in 1492. He was
educated at Wittenberg, where he was befriended
by Luther. He became in 1525 Rector of St
Andrew's School and preacher at Eisleben, and
later (1540) Court preacher at Berlin. He helped
to draw up the "Interim" in 1548 and died in
Berlin in 1566. The Hymn is attributed errone-
ously to Paul Speratus.
1 Every movement of the Cantata is a stanza of the Hymn.
" Wackernagel, III. 54, prints from a 1531 text.
29 — 2
452 CANTATA CLXXVII
The melody, which was published with the Hymn
{supra), occurs also in Cantata 185. Organ Works,
N. XV. III.
{a)
The words of the opening movement are the
first stanza of the Hymn :
Ich ruf zu dir, Herr Jesu Christ,
Ich bitt' : erhor" mein Klagen ;
Verleih' mir Gnad' zu dieser Frist,
Lass mich doch nicht verzagen.
Den rechten Glauben, Herr, ich mein',
Den woUest du mir geben,
Dir zu leben,
Mein'm Nachsten nutz zu sein',
Dein Wort zu halten eben.
B.G. XXXV. 201.
English translations of the Hymn are noted in
the Dictionary of Hymnology, pp. 31, 1550.
Form. Choral Fantasia (2 Ob., Violino con-
certante. Strings, Continuo).
{b)
The words of the concluding Choral are the fifth
stanza of the Hymn :
Ich lieg' im Streit und widerstreb' :
Hilf, O Herr Christ, dem Schwachen !
An deiner Gnad' allein ich kleb' ;
Du kannst mich starker machen.
' 1531 nutz sein.
CANTATA CLXXVIII 453
Kommt nun Anfechtung, Herr, so wehr",
Dass sie mich nicht umstosse.
Du kannst maassen,
Dass mir's nicht bring" Gefahr ;
Ich weiss, du wirst's nicht lassen.
B.G. XXXV. 234.
Form. Simple (2 Ob., Fagotto, Strings, Con-
tinuo). Choralgesange, No. 183.
Cantata CLXXVIII. Wo Gott der Herr
NICHT BEI UNS HALT. Eighth Sunday after
Trinity {c. 1740)
A Choral Cantata, on Justus Jonas' version of
Psalm cxxiv, "Wo Gott der Herr nicht bei uns
halt," first published in Eyn Enchiridion oder Hand-
buchlein (Erfurt, 1 5 24). It occurs also in Eyn gesang
Buchleyn (Zwickau, 1525), but to another melody,
and in Joseph Klug's Geistliche Lieder (y^ittenherg,
1535 [1529]), to the tune which Bach uses here
(see Cantata 73).
Jonas, the son of Jonas Koch, was born at
Nordhausen in 1493. He was educated at Witten-
berg and Erfurt and became (1519) Rector of the
latter University. As Professor of Church Law at
Wittenberg (i 521) he was the friend and colleague
of Luther and Melanchthon. After Luther's death
he became pastor at Eisfeld on the Werra, and
died there in 1555.
454 CANTATA CLXXVIII
(a)
The words of the first movement are the first
stanza of the Hymn :
Wo Gott der Herr nicht bei uns halt,
Wenn unsre Feinde toben,
Und er unsrer Sach' nicht zufallt
Im Himmel hoch dort oben ;
Wo er Israels Schutz nicht ist
Und selber bricht der Feinde List :
So ist's mit uns verloren.
B.G. XXXV. 237.
A translation of the Hymn into English is
noted in the Dictionary of Hymnology, p. 605.
Form,. Choral Fantasia (2 Ob., Strings, Con-
tinual
{b)
The words of the Choral in the second move-
ment are the second stanza of the Hymn :
Was Menschen Kraft und Witz ansaht,
Soil uns billig nicht schrecken ;
Er sitzet an der hochsten Statt',
Er' wird ihr'n Rath aufdecken,
Wenn sie's auf's Kliigste greifen an,
So geht doch Gott ein' andre Bahn :
Es steht in seinen Handen.
B.G. XXXV. 252.
Form. "Recitativ" and Choral for Alto {Con-
tinuoy.
' 1524 Der. 2 See p. 44 sup-a.
CANTATA CLXXVIII 455
(c)
The words of the fourth movement are the fourth
stanza of the Hymn :
Sie stellen uns wie Ketzern nach,
Nach^ unserm Blut sie trachten;
Noch riihmen sie sich Christen auch^,
Die Gott allein gross achten.
Ach Gott, der theure Name dein
Muss ihrer Schalkheit Deckel sein !
Du wirst einmal aufwachen.
B.G. XXXV. 259.
Form. Tenor Unison Choral (2 Ob. d'amore,
Continud).
(d)
The words of the Choral in the fifth movement
are the fifth stanza of the Hymn :
Aufsperen sie den Rachen weit
Und woUen uns verschlingen.
iob und Dank sei Gott allezeit :
Es wird ihn'n nicht gelingen !
Er wird ihr' Strick' zerreissen g^
Und stiirzen ihre falsche Lahr.
Sie werden's Gott nicht wehren.
B.G. XXXV. 262.
Form. "Choral und Recitativ" (S.A.T.B.) in
Extended Dialogus form {Continuo).
1 1524 Zu. '^ 1S24 hocb.
456 CANTATA CLXXIX
(e)
The words of the concluding Choral are the
seventh and eighth stanzas of the Hymn :
Die Feind' sind all' in deiner Hand,
Da?u all' ihr" Gedanken ;
Ihr' Anschlag' sind* dir, Herr^, bekannt,
Hilf nur, dass wir nicht wanken.
Vemunft wider dem Glauben ficht,
Auf's Kunft'ge will sie trauen nicht,
Da du wirst selber tr6sten.
Den Himmel und auch die Erden
Hast du, Herr Gott, gegriindet ;
Dein Licht lass uns helle werden.
Das Herz uns werd' entziindet,
In rechter Lieb' des Glaubens dein
Bis an das End' bestandig sein ;
Die Welt lass immer murren.
B.G. XXXV. 272.
Form. Simple (2 Ob., Strings, Continud).
Cfwralgesdnge, No. 384.
Cantata CLXXIX. Siehe zu, dass deine
GOTTESFURCHT NICHT HeUCHELEI SEI.
Eleventh Sunday after Trinity (.? 1724)
For the melody of the concluding Choral, Georg
Neumark's " Wer nur den lieben Gott lasst walten,"
see Cantata 21.
The words of the Choral are the first stanza of
Christoph Tietze's (Titius) Hymn, " Ich armer
1 1524 anschlag ist. ^ 1524 wol.
CANTATA CLXXX 457
Mensch, ich armer Sunder," first published in his
Simden-Schmertzen, Trost im Hertzen, Todten
Kertzen (Nurnberg, 1663).
Tietze was born at Wilkau in 1641, became
Deacon and Archdeacon at Hersbruck, near Niirn-
berg, and died there in 1703. Before the date of
this Cantata Tietze's Hymn was usually sung to
the tune " Wohl dem, der wait von hohen Dingen,"
to which it was published. It is set to Neumark's
tune in the Praxis of 1709 and in the Unverfdlschter
Lieder-Segen of 1878 :
Ich armer Mensch, ich armer Sunder
Steh' hier vor Gottes Angesicht.
Ach Gott, ach Gott, verfahr" gelinder
Und geh' nicht mit mir in's* Gericht.
Erbarme dich, erbarme dich,
Gott mein Erbarmer, iiber mich! B.G. xxxv. 292.
Form. Simple (2 Ob., Strings, Continuo).
Choralgesdnge, No. 371.
Cantata CLXXX. Schmucke dich, O liebe
Seele^ Twentieth Sunday after Trinity
{c. 1740)
Melody: '■^ Schmucke dich, O liebe Seele''
Johann Criiger 1649
3^
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=•3^
■&■
S3.
^ 1663 vor.
2 An English version of the Cantata, "Soul, array thyself with
gladness," is published by Breitkopf & Haertel.
458
CANTATA CLXXX
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A Choral Cantata, on Johann Franck's Eu-
charistic Hymn, " Schmiicke dich, O Hebe Seele,"
first published, with the melody, in Johann Criiger's
Geistliche Kirchen-Melodien (Leipzig, 1649), and in
the Berlin (1653) edition of Criiger's Praxis Pietatis
Melica.
The melody does not occur elsewhere in the
Cantatas, Oratorios, or Motetts. Organ Works,
N. xvii. 22. Zahn does not reveal an earlier instance
of Bach's variation of bars 4 and 5 supra.
(«)
The words of the opening movement are the
first stanza of the Hymn :
Schmiicke dich, O liebe Seele,
Lass die dunkle Siindenhohle ;
Komm an's helle Licht gegangen,
Fange herrlich an zu prangen.
Denn der Herr voll Heil und Gnaden
Lasst' dich itzt zu Gaste laden.
Der den Himmel kann verwalten,
Will selbst^ Herberg' in dir halten.
B.G. XXXV. 295.
1653 Wil.
1653 jtzt.
CANTATA CLXXX 459
Translations of the Hymn into English are
noted in the Dictionary of Hymnology, pp. 1014,
1699.
Form. Choral Fantasia (2 FL, 2 Ob., Oboe da
caccia. Strings, Continud).
{b)
The words of the Choral in the third movement
are the fourth stanza of the Hymn :
Ach, wie hungert mein Gemiithe,
Menschenfreund, nach deiner Gute !
Ach, wie pfleg' ich oft mit Thranen
Mich nach dieser Kost zu sehnen !
Ach, wie pfleget mich zu diirsten
Nach dem Trank des LebensfUrsten !
Wiinsche stats, dass mein Gebeine
Sich' durch Gott mit Gott vereine.
B.G. XXXV. 311.
Form. " Recitativ " for Soprano. After seven
bars of introductory Recitativo, the rest of the
movement is a rather free treatment of the melody
as a Unison Choral ( Violoncello piccolo, Continuo).
The words of the concluding Choral are the
ninth stanza of the Hymn :
Jesu, wahres Brod des Lebens,
Hilf, dass ich doch nicht vergebens
Oder mir vielleicht zum Schaden
Sei zu deinem Tisch geladen.
' 1653 Mich.
460 CANTATA CLXXXII
Lass mich durch dies Seelen-Essen
Deine Liebe recht ermessen,
Dass ich auch, wie jetzt auf Erden,
Mog* ein Gast im Himmel werden.
B.G. XXXV. 322.
Form. Simple {Continuo). Ckoralgesange, No.
304-
Cantata CLXXXII. Himmelskonig, sei
WILLKOMMEN. Palm Sunday (1714 or 1715)
For the melody of the penultimate movement,
Melchior Vulpius' " Jesu Kreuz, Leiden und Pein,"
see Cantata 159.
The words of the movement are the thirty-
third stanza of Paul Stockmann's Passiontide
Hymn, " Jesu Leiden, Pein und Tod " (see Cantata
159):
Jesu, deine Passion
1st mir lauter Freude,
Deine Wunden, Kron' und Hohn
Meines Herzens Weide ;
Meine Seel' auf Rosen geht,
Wenn ich dran gedenke ;
In dem Himmel eine Statt'
Uns deswegen schenke.
B.G. xxxvii. 43.
Form. Choral Fantasia in fugal form (Flauto,
Strings, Continuo).
CANTATA CLXXXIII 46 1
Cantata CLXXXIII. Sie werden euch in
DEN Bann THUN. Sixth Sunday after
Easter (" Exaudi "Y (? 1735)
For the melody of the concluding Choral, the
anonymous "Helft mir Gott's Giite preisen," see
Cantata 11.
The words of the Choral are the fifth stanz-a of
Paul Gerhardt's Whitsuntide Hymn, " Zeuch ein zu
deinen Thoren," first published in the Berlin (1653)
edition of Criiger's Praxis Pieiatis Melica, to its
own melody. It is also set in the Hymn books to
the tune " Von Gott will ich nicht lassen " :
Du bist ein Geist, der lehret,
Wie man recht beten soil ;
Dein Beten wird erhoret,
Dein Singen klinget wohl ;
Es steigt zum Himmel an,
Es steigt und lasst nicht abe,
Bis der geholfen habe,
Der allein* helfen kann.
B.G. xxxvii. 74.
Translations of the Hymn are noted in the
Dictionary of Hymnology, p. 1 300.
Form. Simple (2 Ob. d'amore, 2 Ob. da caccia,
Strings, Continuo). Choralgesdnge, No. 126.
1 The Sunday is the First after Ascension Day.
^ 1653 alien.
462
CANTATA CLXXXIV
Cantata CLXXXIV. Erwunschtes Freu-
DENLICHT. Whit Tuesday (? 1724)
Melody: "0 Herre Gott, dein gdttlich Wort"
Anon. 1527
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The words and melody of the fifth movement
are from the Hymn, " O Herre Gott, dein gottlich
Wort/' attributed to Anark of Wildenfels, published,
with the melody, in the 1527 edition of the Erfurt
Enchiridion.
The author, who died in 1539, was one of the
strongest supporters of the Reformation at the
Saxon Court and signed the Augsburg Confession.
The melody does not occur elsewhere in the
Cantatas, Oratorios, or Motetts. Bach's slight
variations from the original, notably the B natural
for A natural at the third note supra, the C natural
for D natural at the fifth note after the first double
bar, and the closing cadence, are found in six-
teenth century texts.
CANTATA CLXXXV 463
The words are the eighth stanza of the Hymn:
Herr, ich hoff' je,
Du werdest die
In keiner Noth verlassen,
Die dein Wort recht
Als treue Knecht'
Im Herz'n und Glauben fassen ;
Giebst ihn'n bereit
Die Seligkeit
Und lass'st sie nicht verderben.
O Herr, durch dich
Bitt' ich, lass mich
Frohlich und selig' sterben.
B.G. xxxvii. 95.
Translations of the Hymn into English are
noted in the Dictionary of Hymnology, p. 836.
Form. Simple (2 FL, Strings, Continue).
Choralgesdnge, No. 283^.
Cantata CLXXXV. Barmherziges Herze
DER EWIGEN LlEBE. Fourth Sunday after
Trinity (1715)
The words and melody of the concluding Choral
are from Johannes Agricola's Hymn, " Ich ruf zu
dir, Herr Jesu Christ" (see Cantata 177).
' 1527 willig.
2 Spitta, II. 399, supposes that the Choral, which precedes
the filial Chorus, was inserted when the Cantata was adapted,
1724 (?), to Church use. His inference appears to be incorrect.
See Schweitzer, 11. 162.
464 CANTATA CLXXXVI
The words are the first stanza of the Hymn :
Ich ruf zu dir, Herr Jesu Christ,
Ich bitt' : erhor' mein Klagen,
Verleih' mir Gnad' zu dieser Frist,
Lass mich doch nicht verzagen ;
■ Den rechten Weg, O Herr', ich mein',
Den woUest du rair geben,
Dir zu leben,
Mein'm Nachsten niitz zu sein^,
Dein Wort zu halten eben.
B.C. xxxvii. 118.
Form. Embellished (Tromba, Oboe, Fagotto,
Strings, Continuo\ Choralgesdnge, No. 184.
In the opening movement of the Cantata (B.G.
xxvii. 103), the Soprano-Tenor Duetto " Barmher-
ziges Herze," the melody of the Choral is introduced
upon the Tromba or Oboe. The insertion of the
melody transforms the Cantata, whose burden
otherwise is a lament over human frailty.
Cantata CLXXXVI. Argre dich, O Seele,
NICHT. Seventh Sunday after Trinity (1723)^
The words and melody of the last movement of
Part I of the Cantata are Paul Speratus' Hymn,
" Es ist das Heil uns kommen her " (see Cantata 9).
1 1531 glauben, Herr. " 1531 nutz sein.
^ See Wustmann.'p. 287.
CANTATA CLXXXVII 465
The words are the twelfth stanza of the Hymn :
Ob sich's anliess', als wollt' er nicht,
Lass dich es nicht erschrecken ;
Denn wo er ist am besten mit,
Da will er's nicht entdecken.
Sein Wort lass dir^ gewisser sein,
Und ob dein Herz^ sprach' lauter Nein,
So lass dir doch' nicht grauen.
B.G. xxxvii. 136.
Form. Extended (2 Ob., Strings, Continuoy.
Cantata CLXXXVII. Es wartet Alles auf
DICH. .Seventh Sunday after Trinity (1732)
Melody: ^'' Da Christus geboren war"
Anon. 1544
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' On the analogy of Cantatas 75 and 76 Spitta (11. 360) holds
that the Choral was repeated at the close of Part II of the Cantata.
Schweitzer (11. 152) calls the movement "almost" a Choral Fantasia.
T. B. C.
30
4^6 CANTATA CLXXXVII
Melody: '■'■ Singen wir aus Herzensgrund" Anon. 1589
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The melody of the concluding Choral is found
first in the Gesangbuch der Briider inn Behemen und
Merherm (Niirnberg, 1544), where it is set to
Johann Roh's (Horn, Cornu) version of the Latin
Christmas Hymn, " In natali Domini." It may
be inferred that the melody is adapted from the
tune of that Hymn, which probably is of the four-
teenth or fifteenth century.
The melody does not occur elsewhere in the
Cantatas, Oratorios, or Motetts.
The tune practically had assumed the form in
which Bach uses it before the end of the sixteenth
century.
The words of the concluding Choral are the
fourth and sixth stanzas of the anonymous Hymn,
or Grace after Meat, "Singen wir aus Herzensgrund."
It appeared first as a broadsheet £. 1560 and later
in Hundert Christenliche Haussgesang (Numberg,
1569) and in Johann Eichorh's Geistliche Lieder
CANTATA CLX XXVIII 467
(Frankfort a. Oder, 1569). In the 1589 edition of
the latter Hymn book the Hymn is associated with
the tune " Da Christus geboren war " :
Gott hat die Erd' schon zugericht't',
Lasst's an Nahrung mangeln nicht ;
Berg und Thai, die macht er nass,
Dass dem Vieh auch wachst sein Gras ;
Aus der Erden Wein und Brod
Schaflfet Gott, und giebt's uns salt,
Dass der Mensch sein Leben hat.
Wir danken sehr und bitten ihn^,
Dass er uns geW des Geistes Sinn,
Dass wir solches recht versteh'n,
Stets nach sein'n Geboten geh'n,
Seinen Namen machen gross
In Christo ohn' Unterlass :
So sing'n wir das Gratias. B.G. xxxvii. 191.
A translation of the Hymn is noted in the
Dictionary of Hymnology, p. 1060.
Form. Simple (2 Ob., Strings, Continue').
Choralgesdnge, No. 308.
Cantata CLXXXVHI. Ich habe meine
ZUVERSICHT*. Twenty-first Sunday after
Trinity (1730 or 1731)
The melody of the concluding Choral is the
anonymous " Auf meinen lieben Gott," or " Wo
soil ich fliehen hin" (see Cantata 5).
1 1569 Erden zugericht.
^ 1569 Dancken wir sehr, bitten in. ^ 1569 Das er geb.
* Wustmann, p. ^q%, contests the authenticity of this Cantata
and attributes the greater part of it to Bach's eldest son.
30—2
468 CANTATA CLXXXVIII
The words of the Choral are the first stanza of
the Hymn, " Auf meinen lieben Gott," attributed
to Sigismund Weingartner, first pubHshed in
Geistliche Psalmen, Hymnen, Lieder und Gebet
(Niirnberg, 1607).
Of Weingartner nothing certain is known
beyond the fact that his name appears as "Sigismund
Weingart" in the Index of Authors prefixed to
the Geistliche Psalmen {supra). He seems to have
been a preacher in or near Heilbronn c. 1600. It is
doubtful whether he was the author of the Hymn,
whose ascription to him arose from the fact that it
stands in the Index immediately under another
Hymn to which his initials are attached':
Auf meinen lieben Gott
Trau' ich in Angst und Noth.
Er* kann mich allzeit retten
Aus Triibsal, Angst und Nothen ;
Mein Ungluck kann er wenden:
Steht all's in seinen Handen.
B.G. xxxvii. 212.
Translations of the Hymn into English are
noted in the Dictionary of Hymnology, p. 1247.
Form. Simple {Continue). Clioralgesange, No.
25'.
' Wackernagel, v. 433, prints two versions of the Hymn, dated
1609 and 161 1, under the name of Theodor von Someren.
- 1609 Der.
* In this Cantata, as in No. 1 46, Bach makes use of Concerto for
Clavier or two Violins (D minor). See also Nos. 49, no, 169, 174.
CANTATA CXC 469
Cantata CXC. Singet dem Herrn ein
NEUES Lied'. Feast of the Circumcision
(New Year's Day) {c. 1725^)
{a)
The words and melody of the Choral in the
second movement are those of Luther's version of
the " Te Deum " (see Cantata 16).
The words are the first two clauses of the " Te
Deum " :
Herr Gott dich loben wir !
Herr Gott wir danken dir !
B.G. xxxvii. 244.
Form. Extended ; the lines being interrupted
by Recitativo passages for Bass and Tenor (3 Trombe,
Timp., 3 Ob., Strings, Continud).
In two places in the opening Chorus, "Singet
dem Herrn," the four voices in unison declaim the
first two lines of the Choral (B.G. xxxvii. 236, 240)-
The words and melody of the concluding
Choral are Johann Hermaim's New Year Hymn,
" Jesu, nun sei gepreiset" (see Cantata 41).
' An English version of the Cantata, " Sing to the Lord a glad
new song," is published by Breitkopf & Haertel.
2 In a revised form Bach used the Cantata for the commemoration
of the Augsburg Confession at Leipzig on June 25, 1730 (Spitta, 11.
387).
470 CANTATA CXCII
The words are the second stanza of the Hymn:
Lass' uns das Jahr voUbringen,
Zu Lob dem Namen dein,
Dass wir demselben singen
In der Christengemein ;
WoUst uns das Leben fristen
Durch dein' allmachtig' Hand ;
Erhalt" dein' liebe Christen
Und unser Vaterland.
Dein'n Segen zu uns wende,
Gieb Fried' an allem Ende ;
Gieb unverfalscht im Lande
Dein seligmachend Wort.
Die Heuchler* mach' zu Schande
Hier und an allem Ort.
B.G. xxxvii. 257.
Form. Embellished (3 Trombe, Timp., 3 Ob.,
Strings, Continud). Choralgesdnge, No. 205.
Cantata CXCII. Nun danket alle Gott
(c. i;32^)
A Choral Cantata, on Martin Rinkart's Hymn,
"Nun danket alle Gott" (see Cantata 79). The
melody of the opening and concluding movements
is Johann Criiger's setting of the Hymn (see
Cantata 79).
' 1593 Teuffel.
^ The occasion for which the Cantata was composed is not
stated. It is incomplete ; the vocal Tenor part is wanting through-
out. Every movement is a stanza of the Hymn.
CANTATA CXCII
471
The words of the opening movement are the
first stanza of Rinkart's Hymn :
Nun danket alle Gott
Mit Herzen, Mund und Handen,
Der grosse Dinge thut
An uns und alien Enden ;
Der uns von Mutterleib
Und Kindesbeinen an
Unzahlig viel zu gut
Und noch jetzund gethan.
B.G. xli. 67.
Form. Choral Fantasia (2 FL, 2 Ob., Strings,
Continue).
The words of the concluding Choral are the
thvtA stanza of Rinkart's Hymn :
Lob, Ehr" und Preis sei Gott,
Dem Vater und dem Sohne
Und Dem, der Beiden gleich,
In hohen' Himmelsthrone :
Dem dreieinigen^ Gott,
Als der^ urspriinglich war,
Und ist und bleiben wird
Jetzund und immerdar. B.G. xli. 88.
Form.
Continue).
Choral Fantasia (2 FL, 2 Ob., Strings,
1648 hochsten.
1648 dreymahl Einem. " 1648 er.
472 CANTATA CXCIV
Cantata CXCIV. Hochsterwunschtes Freu-
DENFEST'- For the Opening of the Organ at
Stormthal (1723)
(a)
For the melody of the concluding movement of
Part I, Louis Bourgeois' " Ainsi qu'on oit le cerf,"
see Cantata 13.
The words of the movement are the sixth and
seventh stanzas of Johann Heermann's Hymn,
" Treuer Gott, ich muss dir klagen " (see Cantata 25):
Heil'ger Geist in's Himmels Throne,
Gleicher Gott von Ewigkeit
Mit dem Vater und dem Sohne,
Der Betriibten Trost und Freud' !
* Allen Glauben den ich find'^ :
* Hast^ du in mir angezund't,
tJber mir in* Gnaden walte,
Ferner deine Grad'^ erhalte.
Deine Hiilfe zu mir sende,
O du edler Herzensgast !
Und das gute Werk vollende,
* Das" du angefangen hast.
* Bias' in mir das Fiinklein' auf,
Bis dass nach voUbrachten Lauf
Ich den* Auserwahlten gleiche
Und' des Glaubens Ziel erreiche. B.G. xxix. 124.
1 Bach later adapted the Cantata to Trinity Sunday, 1731.
^ 1630 So viel ich an Glauben find. ' '630 Der.
■* 1630 mit. 5 J 6 JO Qab. ^ 1630 Was.
' 1630 Blass das kleine Fiincklein. ^ 1630 Allen.
' 1630 Ich.
* These lines are found in the 1644 edition of Heermann's
Devoii Musica Cordis.
CANTATA CXCIV 473
Form. Simple (3 Ob., Strings, Continud).
Choralgesdnge, No. 100.
ib)
For the melody of the concluding Choral of the
Cantata, the anonymous " Nun lasst uns Gott dem
Herren," see Cantata 79.
The words of the Choral are the ninth and
tenth stanzas of Paul Gerhardt's Morning Hymn,
" Wach auf, mein Herz, und singe," first published
in the 1647 (Berlin) edition of Criiger's Praxis
Pietatis Melica, to the above melody :
Sprich Ja zu meinen Thaten ;
Hilf selbst das Beste rathen ;
Den Anfang, Mitt'l und Ende,
Ach Herr, zum Besten wende.
Mit' Segen mich beschutte^ :
Mein Herz sei deine Hiitte ;
Dein Wort sei meine Speise,
Bis ich gen Himmel reise.
B.G. xxix. 138.
Translations of the Hymn are noted in the
Dictionary of Hymnology, p. 1229.
Form. Embellished (3 Ob., Strings, Continuo).
Choralgesdnge, No. 268.
' 1647 Mich. ^ 1647 behiite.
474 CANTATA CXCV
Cantata CXCV. Dem Gerechten muss das
Lights For a Wedding (? c. 1726')
The melody of the concluding Choral is Nicolaus
Herman's "Lobt Gott, ihr Christen alle gleich "
(see Cantata 151).
The words of the Choral are the first stanza of
Paul Gerhardt's Hymn of Thanksgiving, "Nun
danket all' und bringet Ehr'," first published, to
Herman's tune (supra), in the 1647 (Berlin) edition
of CrUger's Praxis Pietatis Melica :
Nun danket all' und bringet Ehr',
Ihr Menschen in der Welt,
Dem, dessen Lob der Engel Heer
Im Himmel stets vermeldt'. B.G. xiii. (i) 70.
Form. Embellished (2 Corni, Timp., 2 Fl., 2 Ob.,
Strings, Continuo). Choralgesdnge, No. 236.
Cantata CXCVH. Gott ist uns're Zuver-
sicht. For a Wedding" (c. 1740)
{a)
The words and melody of the concluding move-
ment of Part I (Vor der Trauung) of the Cantata
are Luther's " Nun bitten wir den heiligen Geist "
(see Cantata 169).
' An English version of the Cantata, "For the righteous the
light hath awakened," is published by Breitkopf & Haertel.
2 See Spitta, II. 468.
" Only the first line is printed in the Score.
■* Bach incorporated into this work the Christmas Cantata,
"Ehre sei Gott" (No. U i).
CANTATA CXCVII 475
The words are the third stanza of the Hymn :
Du siisse Lieb', schenk' uns deine Gunst,
Lass uns empfinden der Liebe Brunst,
Dass wir uns von Herzen einander lieben
Und in Fried' auf einem Sinne bleiben.
Kyrie eleis !
B.G. xiii. (i) 1.28.
Form. Simple^ Choralgesdngei No. 255.
(b)
The words and melody of the concluding Choral
of the Cantata are Georg Neumark's Hymn, " Wer
nur den lieben Gott lasst walten " (see Cantata 2 1 ).
The words are the seventh stanza of the Hymn ;
the first four lines, however, have been rewritten :
So wandelt froh auf Gottes Wegen,
Und was ihr thut, das Gott getreu !
Verdienet cures Gottes Segen,
Denn der ist alle Morgen neu^ :
Denn welcher seine Zuversicht
Auf Gott setzt, den verlasst er nicht.
B.G. xiii. (i) 144.
Form. Simple {Continuo). Choralgesdnge,
No. 370.
' The orchestration is not stated in the Score.
" 1657 Sing, bet und geh auf Gottes Wegen,
Verricht das Deine nur getreu
Und trau des Himmels reichem Segen,
So wird Er bey dir werden neu.
476 CANTATA CXCIX
Cantata CXCIX. Mein Herze schwimmt
IM Blut. Eleventh Sunday after Trinity
{c. 1714')
The melody of the sixth movement is Caspar
Stieler's(?) "Wo soil ich fliehen hin" (see Cantata
163).
The words of the Choral are the third stanza
of Johann Heermann's Hymn, "Wo soil ich fliehen
hin " (see Cantata 5) :
Ich Dein betriibtes Kind
Werf alle meine Sund,
So viel ihr in mir stekken
Und mich so heftig schrecken,
In Deine tiefen Wunden,
Da ich stets Heil gefunden.
N.B.G. xiii. (ii) 17.
Form. Soprano Unison Choral {Viola obbligato.
Continue [con Violone] ).
' The occasion for which the Cantata was composed is not
stated in the Score. Wustmann, p. 156, assigns it to this Sunday
because Neumeister wrote a text for the Eleventh Sunday after
Trinity bearing the same title.
THE UNFINISHED CANTATAS^
I. Ehre sei Gott in der Hohe^. Christmas
Day (? 1728)
The melody of the concluding Choral is the
1679 tune, "O Gott, du frommer Gott," or "Die
Wollust dieser Welt" (see Cantata 45).
The words of the Choral are the fourth stanza
of Caspar Ziegler's Christmas Hymn, " Ich freue
mich in dir" (see Cantata 133) :
Wohlan ! so will ich mich
An dich, O Jesu, halten,
Und soUte gleich die Welt
In tausend Stucken spalten.
O Jesu, dir, nur dir,
Dir leb' ich ganz allein,
Auf dich, allein auf dich,
Mein Jesu, schlaf ich ein. E.G. xli. 114.
Form. Simple*. Choralgesdnge, No. 277.
1 In B.G. xli there are two sets of unfinished Cantatas:
(i) "Nun danket alle Gott" (No. 192), "Ihr Pforten zu Zion"
(No. 193), "Ehre sei Gott in der Hohe" (here distinguished as U i) ;
(«) "O ewiges Feuer, O Ursprung der Liebe " (here distinguished
as U 2), "Herr Gott, Beherrscher alter Dinge" (here distinguished
as U 3).
" The Cantata consists of two Arias (one incomplete), a ^^aVa/jOT,
and the final Choral. The work is incorporated into the Wedding
Cantata, No. 197.
' The orchestration is not stated in the Score.
478 UNFINISHED CANTATAS
III. Herr Gott, Beherrscher aller Dinge.
For a Wedding' (before 1733)
The words and melody of the concluding Choral
are Joachim Neander's Hymn of Thanksgiving,
" Lobe den Herren, den machtigen Konig der
Ehren" (see Cantatas 57, 137).
The words are the fourth and fifth stanzas of
the Hymn :
* Lobe den Herren, der deinen Stand sichtbar gesegnet,
Der aus dem Himmel mit Stromen der Liebe geregnet !
Denke daran,
Was der Allmachtige kann,
Der dir mit Liebe begegnet.
* Lobe den Herren, was in mir ist, lobe den Namen !
AUes, was Odem hat, lobe mit Abrahams Samen.
Er ist dein Licht,
Seele, vergiss es ja nicht;
Lobende, schliesse mit Amen !
B.G. xli. 174.
Form. Embellished (3 Trombe, Timpani, 2 Ob.,
Strings, Continuo). Choralgesdnge, No. 230.
1 All instrumental parts except the Viola and Continuo parts are
lacking. (See No. 137.) The Cantata is founded, in part, on No. 120
(Spitta, II. 469).
THE CANTATAS OF DOUBTFUL
AUTHENTICITY^
II. GOTT DER HOFFNUNG ERFULLE EUCHl
Whit Sunday
Melody: '^ Komm, Gott Schbpfer, heiliger Geist"
Anon. 1524
^^
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Melody: '■'■ Komm, Gott Schopfer, heiliger Geist"
Anon. 153s
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' B.G. xli contains four Cantatas of doubtful authenticity. The
first of them, "Gedenke, Herr, wie es uns gehet," Spitta, 11. 695,
does not regard as being by Bach. It appears to have been written
for a Public Fast and contains no Chorals.
^ Spitta, II. 683, holds that the Cantata is not by Bach.
48o CANTATAS OF DOUBTFUL AUTHENTICITY
The words and melody of the concluding Choral
are from Luther's Hymn, " Komm, Gott Schopfer,"
a translation of the "Veni Creator Spiritus,"
first published, with the melody, in the Erfurt
Enchiridion Oder eyn Handbuchlein (Erfurt, 1524)
and in Klug's Geistliche Lieder (Wittenberg, 1535
[1529]). The melody is that of the Latin Hymn.
The melody does not occur elsewhere in the
Cantatas, Oratorios, or Motetts. There is another
harmonisation of it in the Choralgesange, No. 218.
Organ Works, N. xv. 97 ; xvii. 82.
The words of the Choral are the first stanza of
Luther's Hymn :
Komm, Gott Schopfer, heiliger Geist,
Besuch' das Herz der Menschen dein,
Mit Gnaden sie full', wie du weisst,
Das dein' Geschopf vorhin sein.
B.G. xli. 238.
Translations of the Hymn into English are
noted in the Dictionary of Hymnology, p. 1 209.
Form. Embellished (2 Corni, Strings, Continuo).
Choralgesange, No. 219.
HI. SlEHE, ES HAT tJBERWUNDEN DER LOWE.
Feast of St Michael the Archangel
For the melody of the concluding Choral, the
anonymous " Wo Gott der Herr nicht bei uns halt,"
see Cantata 73.
CANTATAS OF DOUBTFUL AUTHENTICITY 48 1
The words of the Choral are the ninth and
tenth stanzas of Justus Gesenius' (?) Hymn "fiirden
Schutz der Heil. Engel," " O Gott, der du aus Her-
zensgrund," first published, to the melody "Wo
Gott der Herr" {supra), in the New Ordentlich
Gesang-Buch (Hanover, 1646).
Gesenius was born at Esbeck, in Hanover, in
1 60 1. In 1636 he became Court preacher and
chaplain at the Cathedral in Hildesheim and in
1642 was appointed chief Court preacher and
General Superintendent of Hanover. With David
Denicke he edited the Hanoverian Hymn books of
1646-59. He died in 1673 :
Lass' deine Kirch' und unser Land
Der Engel Schutz empfinden,
Dass Fried' und Freud' ^ in allem Stand
Ein Jeder^ moge finden ;
Lass sie des Teufels Mord und List,
Und was sein Reich und Anhang ist,
Durch deine Kraft zerstoren.
Zuletzt lass sie an unserm End'
Den Satan^ von uns jagen,
Und unsre Seel' in deine Hand'
Und Abrahams Schooss tragen,
Da alles Heer dein Lob erklingt
Und Heilig ! Heilig ! Heilig ! singt
Ohn' einiges Aufhoren. B.G. xli. 258.
Form. Embellished (2 Trombe). Cfioral-
gesdnge. No. 387.
1 1646 Heyl. "^ 1646 Sich bey uns. ^ 1646 Bosswicht.
T. B. C. ' 31
482 CANTATAS OF DOUBTFUL AUTHENTICITY
IV. LOBT IHN MIT HeRZ UND MUNDE^
The words and melody of the opening Choral
are Ludwig Helmbold's Hymn, " Von Gott will ich
nicht lassen " (see Cantatas 1 1 and 73).
The words are the fifth stanza of the Hymn :
Lobt ihn mit Herz und Munde,
Welch's er uns beides schenkt.
Das ist ein' sel'ge Stunde,
Darin man sein gedenkt ;
Sonst verdirbt alle Zeit,
Die wir zubring'n auf Erden :
Wir soUen''' selig werden
Und bleib'n in Ewigkeit.
B.G. xli. 259.
Form. Simple'. Choralgesdnge, No. 327.
' The occasion for which the Cantata was composed is not
stated in the Score.
^ 1569 SoUen wir.
' The orchestration is not stated in the Score.
THE MOTETTS
I. SiNGET DEM HERRN EIN NEUES LIED ^
The middle section of the Double Chorus
{Andante sostenuto) introduces (Coro II (only
the third stanza of Johann Graumann's Hymn,
" Nun lob', mein' Seel', den Herren," with Johann
Kugelmann's (?) melody (see Cantata 17) :
Wie sich ein Vat'r^ erbarmet
Ub'r seine junge Kinderlein^,
So thut der Herr uns aUen\
So wir ihn kindlich fiirchten rein.
Er kennt das arm' Gemachte,
Gott weiss, wir sind nur Staub,
Gleich wie das Gras, vom Rechen,
Ein' Blum' und fallend Laub !
Der Wind nur driiber wehet,
So ist es nicht mehr da*,
Also der Mensch vergehet,
Sein End' das ist ihm nah'.
B.G. xxxix. 18.
1 English versions of the Motett, "Sing ye to the Lord," are
published by Novello & Co. and Breitkopf & Haertel. Spitta
(11. 603) suggests that the Motett was composed for New Year's Day
2 1540 man. " '54° kindlein klein.
4 1540 armen. ° 154° nymmer da.
31—2
484 THE MOTETTS
Form. Extended. The lines of the Hymn,
sung by Coro II, are interrupted by fragments of
the first movement (^Allegro moderato) introduced
by Coro I as interludes.
II. Der Geist hilft unsrer Schwachheit
AUF^ (1729)
The words and melody of the concluding Choral
are Luther's Whitsuntide Hymn, " Komm, heiliger
Geist, Herre Gott " (see Cantata 59).
The words are the third stanza of the Hymn :
Du heilige Brunst, siisser Trost,
Nun hilf uns frohlich und getrost
In deinem Dienst bestandig bleiben,
Die Triibsal uns nicht abtreiben.
O Herr, durch dein' Kraft uns bereit'
Und stark' des Fleisches Blodigkeit,
Dass wir hier ritterlich ringen,
Durch Tod und Leben zu dir dringen.
Halleluja ! Halleluja ! E.G. xxxix. 57.
Form. Simple. Choralgesdnge, No. 221 ^
III. Jesu, meine Freude' (1723)
The melody of the four Choral movements of the
Motettis Johann Criiger's setting of JohannFranck's
Hymn, "Jesu, meine Freude" (see Cantata 64).
' English versions of the Motett, "The Spirit also helpeth us,"
are published by Novello & Co. and Breitkopf & Haertel.
"^ The Organ and Instrumental accompaniments {^ Ob.,
" Bassono," Strings, Continuo) of the Motett are in B.G. xxxix. 143.
3 An English version of the Motett, "Jesu, priceless treasure,"
is published by Novello & Co.
THE MOTETTS 485
(a)
The words of the opening Choral are the first
stanza of the Hymn :
Jesu, meine Freude,
Meines Herzens Weide,
Jesu, meine Zier :
Ach, wie lang", ach lange :
1st dem Herzen bange
Und verlangt nach dir !
Gottes Lamm,
Mein Brautigam,
Ausser dir soil mir auf Erden
Nichts sonst Liebers warden.
B.G. xxxix. 61.
Form. Simple. Choralgesdnge, No. 196.
The words of the third movement are the
second stanza of the Hymn :
Unter deinen Schirmen
Bin ich vor den Stiirmen
AUer Feinde frei.
Lass den Satan wittem.
Lass den Feind erbittern,
Mir steht Jesus bei !
Ob es itzt
Gleich kracht und blitzt,
Ob gleich Siind' und HoUe schrecken :
Jesus will mich decken.
B.G. xxxix. 66.
Form. Simple (S.S.A.T.B.). Choralgesdnge,
No. 198.
486 THE MOTETTS
(C)
The words of the seventh movement are the
fourth stanza of the Hymn :
Weg mit alien Schatzen :
Du bist mein Ergotzen,
Jesu, meine Lust !
Weg, ihr eitlen Ehren,
Ich mag euch nicht horen ;
Bleibt mir unbewusst !
Elend, Noth,
Kreuz, Schmach und Tod
Soil mich, ob ich vial muss leiden,
Nicht von Jesu scheiden.
B.G. xxxix. 75.
Form. Simple. The lower parts, however,
exhibit a freedom which is not found in the pure
Simple form. Choralgesdnge, No. 199.
{d)
The words of the concluding Choral are the
sixth stanza of the Hymn :
Weicht, ihr Trauergeister,
Denn mein Freudenmeister,
Jesus, tritt herein.
Denen, die Gott lieben.
Muss auch ihr Betriiben
Lauter Zucker sein.
Duld' ich schon
Hier Spott und Hohn :
Dennoch bleibst du auch im Leide,
Jesu, meine Freude. B.G. xxxix. 84.
Form. Simple. Choralgesdnge, No. 196.
THE MOTETTS
487
IV. FURCHTE DICH NICHT, ICH BIN BEI DIR'
Melody: " Warum sollf ich mich denn grdmen"
Johann Georg Ebeling 1666
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The melody of the Choral, upon which the
Sopranos of Coro I and II combine in the last
section of the Motett, is Johann Georg Ebeling's
setting of Paul Gerhardt's Hymn, "Warum sollf
ich mich denn gramen," first published, with the
Hymn, in Gerhardt's Geistliche Andachten Bestehend
in hundert und z-wanzig Liedern (Berlin, 1666).
The melody also occurs in the " Christmas
Oratorio," No. 33, and there is a harmonisation of
' English versions of the Motett, " Be not afraid," are published
by Novello & Co. and Breitkopf & Haertel.
488 THE MOTETTS
it in the Choralgesdnge, No. 334, In the Oratorio
Bach uses only the first half of the tune, and except
for the latter half of the second and first part of the
third lines of the Hymn, follows Daniel Vetter's
reconstruction of the melody in his Musicalische
Kirch- und ffauss-Erg-dizh'ckieti (heipzig, Part II,
17 13). There is earlier authority for Bach's inno-
vations, excepting his lines 3 and 6. In the Motett
he follows Vetter, excepting the last three bars
(supra), where his version seems to be his own. The
Choralgesdnge form is identical with the Oratorio
movement, but with Vetter's version of the fourth
line of the Hymn.
The words of the Choral are the eleventh and
twelfth stanzas of Gerhardt's Hymn, first published,
to another melody, in the 1653 (Berlin) edition of
Criiger's Praxis Pietatis Melica :
Herr, mein Hirt, Brunnaller Freuden !
Du bist mein, ich bin dein ;
Niemand kann uns scheiden.
Ich bin dein; weil du dein Leben
Und dein Blut mir zu gut
In den Tod gegeben.
Du bist mein, weil ich dich fasse
Und dich nicht, O mein Licht,
Aus dem Herzen lasse !
Lass mich, lass niich hin gelangen,
Wo' du mich, und ich dich
Ewig* werd' umfangen. B.G. xxxix. 98.
1 1653 Da. 2 165J Lieblich.
THE MOTETTS
489
Form. Choral Fantasia in Motett form, the
three lower parts working out a subject fugato.
V. KoMM, Jesu, komm'
Melody: " Komm, Jesu, komm"
tr
J. S. Bach
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The melody of the concluding Choral, in form
an Aria rather than a Hymn tune (cf the
" Christmas Oratorio," No. 42), is by Bach himself
* An English version of the Motett, "Come, Jesu, come," is
pubUshed by Novello & Co.
490 THE MOTETTS
and is built upon the subject of the preceding
Double Chorus.
The melody does not occur elsewhere.
The words of the Choral are the eleventh stanza
of the anonymous Hymn, " Komm, Jesu, komm,"
published in Paul Wagner's Anddchtiger Seelen
geistliches Brand- und Gantz-Opfer. Das ist: voll-
stdndiges Gesangbuch (Leipzig, 1697). In the
Jakob-Richter Allgemeines vierstimmiges Kirchen-
und If aus-Ckora/duck (Berlin [187^]) the Hymn is
printed to a melody that is said to come from the
MS. Hymn book of the Church at Nieder Wiese,
1773- Johann Christoph Schwedler (1672- 1730)
was assistant there in 1698, after taking his degree
at Leipzig in the previous year. Can he be the
author of the Hymn, and have communicated it to
Wagner at Leipzig ? It is not found in any earlier
Hymn book :
* Drauf schliess' ich mich in deine Hande
Und sage, Welt, zu guter Nacht !
Eilt gleich mein Lebenslauf zu Ende,
Ist doch der Geist wohl angebracht.
Er soil bei seinem Schopfer schweben,
Weil Jesus ist und bleibt der wahre Weg zum Leben.
B.G. xxxix. 125.
Form. Simple'. Choralgesdnge, No. 222.
' In the Score the movement is marked "Aria."
APPENDIX I
Hymn Melodies that occur in the "Pas-
sions" AND Oratorios but are not
FOUND IN THE CANTATAS AND MOTETTS
(I)
Melody: "Christus, der uns selig mackt"
"Patris Sapientia" 1531
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Melody: " Christus, der uns selig mackt"
Reconstruction 1598
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492
APPENDIX I
The melody, "Christus, der uns selig macht,"
was first published in Ein New Gesengbttchlen (Jung
Bunzlau, 1 531), set to Michael Weisse's free trans-
lation of the Hymn, " Patris sapientia, Veritas
divina." The tune probably is an adaptation of
that of the Latin original.
The melody occurs in the " St John Passion,"
Nos. 12 and 35 {Choralgesange, Nos. 49, 50). There
is another harmonisation of it in the Choralgesdnge,
No. 48. The last conforms to the 1531 text of the
tune. The two settings in the " St John Passion "
follow Seth Calvisius' reconstruction of the melody,
published in his Harmonia Cantionum ecclesiasti-
carum (Leipzig, 1598). Organ Works, N. xv. 64
(153 1 version).
(2)
Melody: " Es sind dock selig alle" Matthaus Greitter 1525
The melody " Es sind doch selig alle," or " O
Mensch, bewein' dein' SUnde gross," most probably
APPENDIX I
493
was composed by Matthaus Greitter, and was pub-
lished in Part III of the Strasshurg Kirckeampi mii
lobgsengen (Sfrassburg, 1525). It is set to Greitter's
Psalm cxix in the Strassburg Psalmen of 1526.
Its association with Sebald Heyden's Hymn, " O
Mensch, bewein'," dates from c. 1584.
The melody occurs in the "St Matthew
Passion," No. 35. There is another harmonisation
of it in the Choralgesdnge, No. 286. Organ Works,
N. XV. 69.
(3)
Melody: "■ Gott des Himmels und der Erden"
Heinrich Albert 1643
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Melody: ^"^ Gott des Himmels und der Erden"
Reconstruction 1687'
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494
APPENDIX I
The melody, "Gott des Himmels und der
Erden," was composed by Heinrich Albert and was
first published, with the Hymn (of which he was the
author), in Part V of his Arien oder Melodeyen
(Konigsberg, 1642).
The melody occurs in the " Christmas Oratorio,''
No. S3 {Choralgesange, No. 114). In the third bar
{supra) Bach follows Daniel Vetter's Hymn book
(17 1 3). His own closing cadence was prescribed
by the fact that his Hymn text contained one
syllable more than Albert's original.
(4)
Melody: " Herzliebster Jesu "
Johann Criiger 1640
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The melody, " Herzliebster Jesu, was hast du
verbrochen," was composed by Johann Criiger for
that Hymn (by Johann Heermann), and was first
published in his Newes vollkomlickes Gesangbuch
(Berlin, 1640).
The melody occurs in the " St Matthew Passion,"
Nos. 3, 25, 55 ; and the " St John Passion," Nos. 4,
APPENDIX I
495
15 {Ckoralgesdnge, Nos. i66-i6g). The F sharp
which Bach introduces at the fifth note of the tune
dates from 1694.
(S)
Melody: " O Lamm Go ties unschuldig"
Nicolaus Decius 1542
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The melody, " O Lamm Gottes unschuldig,"
was composed or adapted by Nicolaus Decius for
his translation of the " Agnus Dei," and was first
published in the Christliche Kirchen-Ordnung
(Erfurt, 1542).
The melody occurs in the " St Matthew Passion,"
No. I. There is a harmonisation of it in the
496
APPENDIX I
Choralgesdnge, No. 285. Organ Works, N. xv. 58;
xvii. 32. Bach generally follows a reconstruction
of the melody in Johann Spangenberg's Kirchen-
gesenge Deudtsch (Magdeburg, 1545). In the Choral
Prelude, N. xvii. 32, he prefers a later (1598) text.
(6)
Melody: " Vom Himmel hoch"
.'Martin Luther 1539
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azat
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t
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^
The melody, " Vom Himmel hoch da komm ich
her," is with probability attributed to Luther. It
was first published, with the Hymn, in Valentin
Schumann's Geistliche lieder auffs new gebessert
(Leipzig, 1539).
The melody occurs in the "Christmas Oratorio,"
Nos. 9, 17, 23 (Choralgesdnge, No. 323). Organ
Works, N. XV. 21 ; xix. 14, 16, 19. Bach also
wrote a set of five Variations in Canon on the tune
(N. xix. 73).
APPENDIX II
Translations
Note. The Roman numerals preceding a stanza
indicate its number in the German Hymn. The
Arabic numbers in brackets following the first line
of a stanza state the Cantata or Motett in which
it occurs ; plain numerals indicate the Cantatas ;
M, Motetts ; U, Unfinished Cantatas ; D, Cantatas
of doubtful authenticity. The capital letters at the
foot of the translations show the source of the
latter, as follows :
A. Novello & Co.'s Original Octavo Edition.
B. " The Chorale Book for England ; the Hymns from
the Lyra Germanica and other sources, translated by
Catherine Winkworth; the tunes from the sacred music of
the Lutheran, Latin, and other Churches, compiled and
edited by William Sterndale Bennett and Otto Goldschmidt."
London, 1865.
C. Breitkopf & Haertel's (J. and W. Chester) English
Edition of Bach's Cantatas.
D. Trans. C. S. T.
E. "Lyra Germanica: Hymns for the Sundays and
Chief Festivals of the Christian Year. Translated from the
German." By Catherine Winkworth. New Edition. London,
1864.
T. B. C. 32
498 APPENDIX II
E (ii). " Lyra Germanica : Second Series: The Christian
Life. Translated from the German." By Catherine Wink-
worth. Fifth Edition. London, 1863.
F. " The Church Hymnary." Edinburgh, 1904.
G. " A Compendious Book of godly and spiritual songs :
commonly known as ' The Gude and Godlie Ballatis.' Re-
printed from the edition of 1567." Edited by A. F. Mitchell,
D.D., LL.D. Scottish Text Society. Edinburgh, 1897.
H. "Songs of Syon. A Collection of Psalms, Hymns,
and Spiritual Songs set, for the most part, to their Ancient
Proper Tunes, edited by the Rev. G. R. Woodward, M.A.,
Author of the Cowley Carol-Book." Third Edition, revised
and enlarged. London, 1910.
L " Remains of Myles Coverdale, Bishop of Exeter.
Containing.. .Ghostly Psalms and Spiritual Songs." Edited
for the Parker Society, by the Rev. George Pearson. Cam-
bridge, 1846.
K. " Christian Singers of Germany." By Catherine
Winkworth. London, 1869.
L. " Psalmodia Germanica : or, A Specimen of Divine
Hymns, Translated from the High Dutch." By John
Christian Jacobi. London, 1722.
M. " Exotics : A Translation of the Spiritual Songs of
Novalis, the Hymn-Book of Luther, and other Poems from
the German and Italian." By George Macdonald. London,
1876.
N. " Liturgy and Hymns for the use of the Protestant
Church of The Unity of the Brethren or Unitas Fratrum.
A New and Revised Edition." London, 1906.
O. " Psalms and Hymns, partly original, partly selected,
for the use of the Church of England." By the Rev. Arthur
T. Russell. Cambridge, 1851.
P. "The Family Treasury. Containing contributions
by well-known writers in all departments of religious litera-
ture." London, 1877.
APPENDIX II 499
1. AcH bleib' bei uns, Herr Jesu Christ
i. O bide with us, Thou Saviour dear, (6)
Forsake us not when eve is near ;
Thy sacred word, clear guiding light ;
O grant it ne'er be quenched in night,
ii. In this our last and weakest hour, (6)
Inspire us. Lord, with steadfast power,
That undefiled Thy faith we keep.
Until in death secure we sleep.
Nicolaus Selnecker (A).
2. AcH GoTT UND Herr
iv. If pain and woe must follow sin, (48)
Then be my path still rougher.
Here spare me not ; if heaven I win.
On earth I gladly suffer.
Anonymous (B, no. 107).
3. ACH GOTT, VOM HiMMEL SIEH' DAREIN
i. Ah God, from heaven, look down and view ; (2)
Let it Thy pity waken;
Behold Thy saints how very few!
We wretches are forsaken.
Thy Word they will not grant it right.
And faith is thus extinguished quite
Amongst the sons of Adam,
vi. God will its purity defend (2)
From this evil generation.
Let us ourselves to Thee commend,
Lest we fall from our station ;
The godless rout is all around
Where these rude wanton ones are found
Against Thy folk exalted.
Martin Luther (M, p. 62).
32—2
SOO APPENDIX II
4. ACH GOTT, WIE MANCHES HERZELEID
i. O God, how many pains of heart (3, 44, 58)
Befall me now with cruel smart.
The narrow way is troublesome,
By which to heaven I must come,
ii. How hardly can my flesh and blood (3)
Aspire to everlasting good ?
Where may I hope to comfort me?
My mind, O Jesu, turns to Thee.
xii. O guard my heart, sustain Thine own, (3, 153)
In life and death, 'tis Thine alone.
Jesu, my hope, my prayer shall be :
Dear Saviour, would I were with Thee.
(C.)
xi. Then while I live this life of care (153)
The cross for Thee I'll gladly bear.
Grant me a patient, willing mood,
I know that it shall work my good.
xi-xii. Help me to do my task aright, (153)
That it may stand before Thy sight.
Let me this flesh and blood control,
From sin and shame preserve my soul.
Martin Moller(?) (B, no. 136).
5. AcH Herr, MICH armen, Sunder
i. A sinner. Lord, I pray Thee, (135)
Recall Thy dread decree ;
Thy fearful wrath O spare me,
From judgment set me free.
O, dear Lord, grant compassion.
And toward me turn Thy face,
That I may dwell beside Thee
In Heaven's appointed place.
APPENDIX II 501
vi. All praise to Thy great merit, (135)
High God on Heaven's throne,
Father and Holy Spirit,
And ever blessed Son.
Our eager voices praise Thee
With joyful ecstasy.
In hope to sing before Thee
For all eternity.
Cyriacus Schneegass (D).
6. AcH, LiEBEN Christen, seid getrost
i. Be of good cheer, good Christians all, (i 14)
Why stand ye so dejected?
What though our God afflicteth us
Who've His right laws rejected?
How justly falls His chastening hand !
With contrite heart we understand
And bow to His correction.
iii. E'en as the grain to earth doth fall (114)
And rise to harvest from its tomb.
So must our body vile decay
And dust and ashes brief become,
If glorified it hopes to rise
To those far mansions in the skies
Where Christ hath gone before us.
vi. For, though we wake and though we sleep, (114)
The Lord will ever shield us ;
Who hath baptized us in His Name
To Satan will not yield us.
Through Adam's sin death on us came.
But Christ the Victim's borne the blame.
Praise God for His great goodness !
Johannes G. Gigas (D).
S02 APPENDIX II
7. ACH WIE FLUCHTIG
i. Ah ! how fleeting, (26)
Frail and cheating
Are our days' brief measure !
Like a mist that quickly riseth
And the sun's hot ray surpriseth
Is the life that man so prizeth.
xiii. Ah ! how cheating, (26)
Hollow, fleeting,
Are our mortal doings.
Nature in deep anguish sigheth ;
Where the tree falls, there it lieth.
Who trusts God he never dieth.
Michael Franck (D).
8. Alle Menschen MUSSEN STERBEN
vii. Yea, I see what here was told me, (162)
See that wondrous glory shine.
Feel the spotless robes enfold me,
Know a golden crown is mine ;
So before the throne I stand,
One amid that glorious band,
Gazing on that joy for aye
That shall never pass away!
Johann Georg Albinus (B, no. 196).
9. Allein zu dir, Herr Jesu Christ
i. Lord Jesu Christ, in Thee alone (33)
My only hope on earth 1 place,
For other comforter is none.
No help have I but in Thy grace.
There is no man nor creature here.
No angel in the heavenly sphere.
Who at my need can succour me;
I cry to Thee,
For Thou canst end my misery.
APPENDIX II 503
iv. Glory to God in highest heaven, (33)
The Father of eternal love ;
To His dear Son, for sinners given,
Whose watchful grace we daily prove ;
To God the Holy Ghost on high ;
Oh ever be His comfort nigh,
And teach us, free from sin and fear,
To please Him here.
And serve Him in the sinless sphere !
Johannes Schneesing (B, no. 112).
10. Also hat Gott die Welt geliebt
i. That God doth love the world we know, (68)
Since He has sent His Son to save us :
To Him be faithful here below.
Then take the endless life He gave us.
To trust in Jesus, our salvation.
Will guard the soul from reprobation :
There is no ill which him can move
Whom God the Lord vouchsafes to love.
Salomo Liscow (A).
11. AuF Christi Himmelfahrt ALLEIN
i. Since Christ is gone to heaven, His home (128)
I too must one day share ;
And in this hope I overcome
All anguish, all despair ;
For where the Head is, well we know
The members He hath left below
In time He gathers there.
Josua Wegelin (E (ii), p. 47).
504 APPENDIX II
12. AUF, MEIN HeRZ ! DES HERREN TaG
i. Up, my soul ! 'tis Christ's great day, (145)
Death no longer can enthral us.
He who in the dark grave lay
Risen and glorious now doth call us.
Ever will I trust in Him
Who hath bought the world from sin.
Caspar Neumann (D).
13. AUF MEINEN LIEBEN Gott
i. In God, my faithful God, (188)
I trust when dark my road ;
Though many woes o'ertake me,
Yet He will not forsake me ;
His love it is doth send them.
And when 'tis best will end them.
vi. "So be it," then I say, (148 n.)
With all my heart each day ;
Guide us while here we wander.
Till safely landed yonder.
We too, dear Lord, adore Thee,
And sing for joy before Thee.
(?) Sigismund Weingartner (B, no. 147).
14. Aus tiefer Noth SCHREI ICH ZU DIR
i. From depths of woe I call on Thee, (38)
O God, now hear my crying !
Thy gracious ear inchne to me,
To my complaint replying.
If Thou, O Lord, wilt call to mind
The sins and failings of mankind,
, Alas ! who may abide it .'
APPENDIX II 505
V. Yea, though our sin be ne'er so great, (38)
God's grace at last prevaileth ;
His arm is ready soon and late.
His mercy never faileth.
Good Shepherd of the flock is He ;
His chosen people He shall free
From sin's dark house of bondage.
Martin Luther (A).
15. Barmherzger Vater, hochster Gott
ix. Alas ! I had forsaken Thee, (103)
0 Saviour dear, a moment.
But mark with what deep penitence
1 make Thee now atonement.
I bend the knee.
My God, to Thee
In deep humiliation.
The purest joy
Without alloy
Now crowns Thy great Oblation.
Paul Gerhardt (D).
16. Befiehl du deine Wege
V. Through waves and clouds and storms (153)
He gently clears thy way :
Wait thou His time ; so shall this night
Soon end in joyous day.
Leave to His sovereign sway
To choose and to command ;
So shalt thou, wondering, own His way
How wise, how strong His hand.
Paul Gerhardt (F, no. 277)1.
' This free translation is by John Wesley.
s06 appendix ii
17. Christ ist erstanden
iii. AUeluja, AUeluja, AUeluja ! (66)
So let us sing right joyfully;
For Christ our Paschal Lamb is He.
AUeluja !
Anonymous (D).
18. Christ lag in Todesbanden
i. Christ lay in Death's dark prison ; (4)
It was our sin that bound Him.
This day hath He arisen,
And sheds new light around Him.
Therefore let us joyful be
And praise our God [right heartily].
Hallelujah !
ii. O'er Death no man can prevail, (4)
If mortal e'er came near him.
Through guilt all our strength would fail.
Our sinful hearts did fear him.
Therefore Death did gain the day.
And lead in triumph us away
Henceforth to dwell with him emprisoned.
Hallelujah !
iii. Now Jesus Christ, the Son of God, (4)
For our defence hath risen.
Our grievous guilt He hath removed.
And Death hath bound in prison.
All his might Death must forego.
For now he's nought but idle show.
His sting is lost for ever.
Hallelujah !
APPENDIX II 507
How fierce and dreadful was the strife (4)
When Life with Death contended ;
For Death was swallowed up by Life
And all his power was ended.
God of old, the Scriptures show,
Did promise that it should be so.
O Death, where is thy victory?
Hallelujah !
The Paschal Victim here we see, (4, 158)
Whereof God's word hath spoken.
He hangs upon the cruel tree,
Of saving love the token.
His blood ransoms us from sin,
And Death no more can enter in.
Now Satan cannot harm us.
Hallelujah !
So keep we all this holy feast, (4)
Where every joy invites us ;
Our Sun is rising in the East,
It is our Lord who lights us.
Through the glory of His grace
Our darkness will to-day give place.
The night of sin is over.
Hallelujah !
With grateful hearts we all are met (4)
To eat the bread of gladness.
The ancient leaven now forget.
And every thought of sadness.
Christ Himself the feast hath spread.
By Him the hungry soul is fed,
And He alone can feed us.
Hallelujah !
Martin Luther (A).
s08 appendix ii
19. Christ unser Herr zum Jordan kam
i. Christ bapteist was be Johne in Jordan flude, (7)
For to fulfill for vs all rytcheousnes,
And our Baptisme dotit with sanctitude,
And greit vertew, to wesche our sinfulnes,
To drowne the deide, and hell for to oppres,
Quhen Goddis word with waiter Junit' be,
Throw Faith, to gif vs lyfe Etemallie.
vii. Our eine seis outward bot the watter cauld, (7)
Bot our pure faith the power spirituall
Of Christis blude, inwart it dois behauld,
Quhilk is ane leuand well Celestiall
Zit for to purge the penitent with all.
Our natiue sin in Adame to expell
And all trespas committit be our sell.
Martin Luther (G, p. 14).
(A reconstruction^
i. Christ baptized was in Jordan's flood, (7)
(To John the Baptist there He came,)
To wash away our sinfulness
And cleanse us throughly in His name.
For Death is drowned and Hell oppressed
When holy water's on us poured.
And we shall find eternal rest
Through Faith and in the Blood and Breast
Of our all cleansing Lord.
vii. By Faith and power spiritual (7)
Of Christ's own Blood we do behold
Celestial elements, e'en though
Our eyes see nought but water cold.
' joined.
APPENDIX II 509
By it the penitent is purged
Of Adam's sin and fear of Hell,
And our low nature's upward urged
To meet the purest God Himself
In raiment fair and spotless. (D.)
20. Christe, du Lamm Gottes
Lamb of God, O Jesus, (23)
Thou that bearest all men's sins,
Have mercy on us !
Lamb of God, O Jesus,
Thou that bearest all men's sins,
Have mercy on us !
Lamb of God, O Jesus,
Thou that bearest all men's sins.
Grant us Thy peace !
"Agnus Dei" (C).
21. Christum wir sollen loben schon
i. From lands that see the sun arise, (121)
To earth's remotest boundaries.
The Virgin-born to-day we sing,
The Son of Mary, Christ the King.
viii. For that Thine Advent glory be, (121)
0 Jesu, Virgin-born, to Thee ;
With Father and with Holy Ghost,
From men and from the heavenly host.
Martin Luther, from Coelius Sedulius (H, no. 21).
22. ChRISTUS, DER 1ST MEIN LEBEN
i. My life is hid in Jesus, (95)
And death is gain to me ;
Then whensoe'er He pleases,
1 meet it willingly.
Anonymous (B, no. 186).
5io appendix ii
23. Das neugebor'ne Kindelein
i. Sing we the birth of God's dear Son, (122)
From highest heaven to earth come down,
Bringing to us a glad New Year,
And to all Christian men good cheer.
iii. God is our friend and helper true, (122)
'Gainst Him what can fell Satan do?
Hell and its iron gates must yield ;
For Jesus is both sword and shield.
iv. So let us hail this happy year (122)
And put away all doubt and fear,
Raise our glad hearts to God's high throne,
Saved by the grace of Christ His Son.
Cyriacus Schneegass (D).
24. DER HERR 1ST MEIN GETREUER HiRT
i. The Lord my Guide vouchsafes to be, (85, 104)
To Him full trust I render ;
And He, my Shepherd, carries me
To pastures fair and tender :
He leads me on by waters still.
My soul with comfort He doth fill.
My Strength and sure Defender.
Cornelius Becker (A).
25. DER HERR 1ST MEIN GETREUER HiRT
i. The Lord, He is my shepherd true, (112)
My steps He safely guideth ;
With all good things in order due
His bounty me provideth.
He leadeth me without surcease
In green and pleasant paths of peace,
Wherein His grace abideth.
APPENDIX II SIl
V. The Lord is ever at my side, (112)
His love shall fail me never ;
Therefore my will is to abide
Within His house for ever.
On earth His Church doth me sustain,
And after death I look to reign
With Christ, my Lord, in glory.
Wolfgang Meusel (A).
26. Du Friedefurst, Herr Jesu Christ
i. O Jesu Christ, Thou Prince of Peace, (67, 116, 143)
True Man and God in one.
Our mighty help till life shall cease,
Our hope when life is run.
In that dread hour
We plead Thy power,
To God our Father crying.
vii. Now let Thy gracious Spirit shine, (ii5)
Our drooping hearts to raise,
That we in darkness may not pine.
Nor walk in evil ways.
O Jesu Christ,
In Thee we trust,
For Thou alone canst save us.
(A.)
iii. We thank Thee, Jesu, that indeed (143)
The Prince of Peace Thou art ;
O help us ever in our need.
Thy saving grace impart.
Still year by year
Grant us to hear
Thy Word in peace and quiet.
Jakob Ebert (D).
512 APPENDIX II
27. Du Lebensfurst, Herr Jesu Christ
i. O Jesus Christ, Thou dearest Lord, (43)
Thou Prince of life and glory,
Thou with the Father art adored
In heaven, where saints surround Thee.
How best can I the victory sing
Won by Thy might. Thou gracious King?
What strains can I be raising,
Thy love and power praising?
iv. Now at Thy feet creation lies, (11)
Thy dread commands fulfilling ;
Angels must leave the farthest skies
To do Thee service willing.
Princes and Kings shall come to Thee
In reverent love to bow the knee ;
Earth, Heaven, Fire and Ocean
Do pay Thee glad devotion.
xiii. Draw us, to Thee that haste we may, (43)
The wings of Faith aye plying ;
Help us to turn from earth away.
The land of bondage flying.
My God, when may I soar to Thee?
When joy and peace my portion be?
When may I stand before Thee?
When reign with Thee in glory?
Johann Rist (A).
28. Du, O schones Weltgebaude
vi. Come, O Death, thou twin of Sleep, (56)
Lead us hence, — I pray Thee come.
Loose my rudder, through the deep
Guide my vessel safely home.
APPENDIX II 513
Thy approach who will may fly,
'Twere a joy to me to die,
Death but opes the gates to Thee,
Jesus, dearest Friend to me !
Johann Franck (E, p. 183).
29. DuRCH Adams Fall ist ganz verderbt
vii. He that hopeth in God stedfastly (109)
Shall never be confounded :
For doutles God's worde cannot ley,
Though all men shulde resist it.
Great trouble and care
Is every where ;
This worlde's sorowe is infinite :
Yet sawe I never
Him perish for ever.
That fast on God's worde trusted.
viii. O Lorde, I praye the hartely (18)
For thy great mercyfull kyndnesse ;
Thy wholsome worde take not fro me,
Because of my unthankfulnesse.
My synne is great,
I acknowlege it :
But thy mercy excelleth all thynge.
Therefore will I
Hope styll in- the.
To thy blysse that thou mayest me brynge.
Lazarus Spengler (I, p. 557).
30. EiN' FESTE Burg ist unser Gott
i. A stronghold sure our God remains, (80)
A shield and hope unfailing ;
In need His help our freedom gains.
O'er all we fear prevailing.
T. B. C. 33
514 APPENDIX II
Our old malignant foe
Would fain work us woe.
With craft and great might
He doth against us fight ;
On earth is not one like him.
ii. Our utmost might is all in vain ; (80)
We straight had been rejected,
But for us fights the perfect Man,
By God Himself elected.
Ask then, "Who is He?"
He must Jesus be.
The God by hosts adored.
Our great Incarnate Lord,
Who all His foes shall conquer.
iii. If all the world with fiends were filled, (80)
A host that would devour us,
To fear our hearts need never yield.
For they could not o'erpower us.
The prince of this world
From his throne is hurled ;
Why should we then fear.
Though grim he may appear?
A single word confounds him.
iv. That word shall still in strength abide, (80)
Yet they no thanks shall merit ;
For He is ever at our side.
Both by His gifts and Spirit.
And should they take our life.
Wealth, name, child, and wife,
Tho' these were all gone,
Yet will they nought have won ;
God's kingdom ours remaineth.
Martin Luther (A).
APPENDIX II 515
31. EiN Kind geborn zu Bethlehem
iv. The Princes of Sheba hither came, (65)
With gold and myrrh and incense they came.
Hallelujah, Hallelujah !
Anon. (C).
32. Erhalt' uns, Herr, bei deinem Wort
i. Lord, keep us steadfast in Thy word ; (126)
Curb those who fain by craft or sword
Would wrest the kingdom from Thy Son,
And set at nought all He hath done,
iii. O Comforter, of priceless worth, (126)
Send peace and unity on earth,
Support us in our final strife.
And lead us out of death to life.
(B, no. 103.)
ii. Lord Jesu Christ, Thy power display ; (6)
Thou, Lord, whom other lords obey.
Thy servants with Thy grace defend.
That so their thanks may never end.
Martin Luther (A).
33. Erschienen 1ST der herrlich' Tag
i. Behold the glorious day of days ; (67)
Let all creation join in praise,
When Christ our Lord triumphant rose
And captive led His mighty foes.
Alleluia !
(C.)
xiv. Then, as is meet, we now will sing (145)
Glad Hallelujahs to our King:
To Thee, Lord, doth our praise pertain.
Who for our joy art risen again.
Hallelujah.
Nicolaus Herman (O, no. 113).
33—2
Sl6 APPENDIX II
34. ES 1ST DAS HEIL UNS KOMMEN HER
i. Salvation hath come down to us (9)
Of freest grace and love.
Works cannot stand before God's law,
A broken reed they prove ;
Faith looks to Jesus Christ alone,
He must for all our sins atone,
He is our one Redeemer.
(K, p. 123.)
xi. Hope looketh for the dawning day (86)
Which God's own Word hath promised.
The tardy hour may e'en delay :
God wills and hath ordained it.
He knoweth what for us is best,
Nor will our strength unduly test.
So therefore let us trust Him.
xii. Should e'er His face seem turned from Thee,
Still be thou not aflfrighted; (g, 155, 186)
For when He seems most far from thee
Then art thou least benighted.
So let His Word thy heart restore.
And e'en when doubting, then the more
Know that thou art not slighted.
Paul Speratus (D).
35. ES 1ST GENUG: SO NIMM, HERR, MEINEN
Geist
v. It is enough ! Lord brace me to the test, (60)
When Death stands at the door.
'Tis Jesus knocks. Vain world, a long farewell!
I wend me hence to God,
Trusting, and most exceeding joyous.
Leaving earth's sorrows far behind me.
It is enough !
Franz Joachim Burmeister (D).
APPENDIX II 517
36. Es WOLL' UNS GOTT GENADIG SEIN
i. God be mercyfuU unto us, (76)
And sende over us his blessynge ;
Shewe us his presence glorious,
And be ever to us lovynge;
That men on earth may knowe thy waye,
Thy savynge health and ryghteousnesse ;
That they be not led by nyght nor day,
Throwe the pretexte of trewe justice,
To sake salvacyon where none is.
iii. O God, let the people prayse the ; (69, 76)
All people, God, mought geve the honoure ;
The earth also ryght plenteously
Mought increase ever more and more ;
And God, which is oure God over all,
Mought do us good and pleasure.
God blesse us now both great and small,
And all the worlde hym honoure,
Fearynge alwaye his myght and power.
Martin Luther (I, p. 580).
37. Freu' DICH SEHR, O MEINE Seele
ix. Let Thine angels close attend me, (19)
As Elias Heaven borne ;
May my soul repose upon Thee,
As once Lazarus, poor, forlorn,
In Thy bosom, O receive me,
Fill me full of trust and joy.
Till my risen soul and body
Both unite eternally. (D.)
X. O my soul, right joyful be thou, (70)
Grief and pain no more to know,
For thy Saviour calleth thee now
From this vale of toil and woe ;
5l8 APPENDIX 11
Thou shalt see His power and might
Through eternal ages' flight,
With the choir of angels blending
Songs of triumph never ending.
Anonymous (A).
38. Freuet euch, ihr Christen alle
iv. Jesu, knit in closer union (40)
All Thy members unto Thee,
Pour out all love's energy
To inspire Thy saints' communion.
Grant to all Thy people here
Peace, and blessing through the year,
Joy that earthly joy excelleth,
Christ all power of evil quelleth,
Bliss, that earthly bliss exceedeth.
Christ's our sun, whence grace proceedeth.
Christian Keimann (C).
39. Gelobet sei der Herr
i. Now praised be the Lord, (129)
My God, my life, my beacon.
Who hath of His great love
My soul and body given ;
Who from my mother's womb
A father's care bestows.
And e'en until the tomb
His goodness ever shows.
V. With praises unto God (129)
Let Heaven's high arches ring.
Arid let the angel host
Unite with man to sing
The glories of our Prince
With raptured minstrelsy.
Loud praises to His name
Through all Eternity !
Johannes Olearius (D).
appendix ii 519
40. Gelobet seist du, Jesu Christ
i. Now blessed be thou, Christ Jesu; (91)
Thou art man borne, this is true :
The aungels made a mery noyse,
Yet have we more cause to rejoyse.
Kirieleyson.
ii. The blessed Sonne of God onely (91)
In a crybbe full poore dyd lye :
With oure poore flesh and oure poore bloude
Was clothed that everlastynge good.
Kirieleyson.
vii. All this dyd he for us frely, (64, 91)
For to declare his great mercy :
All Christendome be mery therfore,
And gave hym thankes evermore.
Kirieleyson.
Martin Luther (I, p. 562).
41. GOTT FAHRET AUF GEN HiMMEL
vii. When will the night be over? (11)
When dawns the blissful hour
That shall to us discover
The Lord in all His power?
O day so wondrous dear.
When first our souls shall meet Him,
With loving kiss to greet Him !
Come ! quickly now appear !
Gottfried Wilhelm Sacer (A).
42. GoTT Vater, sende deinen Geist
ii. There lives no child of man on earth (74)
Who of Thy grace can boast his worth.
Not one who is deserving.
We owe it to Thy love alone,
To the far merits of Thy Son,
His death, and His Atonement.
S20 APPENDIX II
X. The Spirit, Whom God sends at need, (io8)
Upon His righteous paths will lead
And guide our feet aright.
They shall not wander from those ways,
Nor be ensnared in evil's maze,
Who follow His directing.
Paul Gerhardt (D).
43. Hast du denn, Jesu, dein Angesicht
gantzlich verborgen
vi. Walk in My ways and commandments, beloved
son. Surely (57)
Thou may'st on Me rely thy Friend in Heaven
to be firmly.
Thou'rt My delight,
And evermore in My sight
Shalt thou in glory shine rarely.
Ahashuerus Fritsch (D).
44. HELFT MIR GOTT'S GtJTE PREISEN
vi. All people sing Thy praises, (16, 28)
O Lord on Heaven's high throne,
For all Thou hast ordained.
Through Jesus Christ Thy Son.
O hear Thy children's prayer :
A year of blessing send us,
From every ill defend us.
And keep us in Thy care. Paul Eber (A).
45. Herr Christ, der einig' Gott's Sohn
i. Christ is the onlie Sone of God, (96)
The Father Eternall :
We haif in Jesse found the rod,
God and man, naturall.
He is the Morning Star,
His bemis send he hes out far,
Bezond vther sternis all.
APPENDIX II. 521
V. Awaik vs, Lord, we pray the, (22, 96, 132, 164)
The haly Spreit vs geue,
Quhilk may our auld man mortifie,
That our new man may leue,
Sa will we alway thank the.
That schawis vs sa greit mercy.
And our sinnis dois forgeue.
Elisabethe Cruciger (G, p. 145).
{Reconstruction.)
i. Christ is the only Son of God, (96)
Father Eternal :
We have in Jesse found the rod,
God and man, natural.
He is the Morning Star,
His beams sends He out far
Other stars beyond all.
V. Awake us, Lord, we pray Thee, (22,96, 132, 164)
Thy Holy Spirit give,
That our old man may mortify.
That our new man may live.
So will we alway thank Thee,
Who showeth so great mercy
And our sins doth forgive.
(D.)
46. Herr Gott, dich loben alle wir
i. Now praise we all our mighty Lord, (130)
And thank Him and give loud applaud
For those bright beings of the sky
Who circle round His throne on high.
xi. We praise Thee and do Thee adore (130)
And thank Thee, Lord, for evermore.
Whose own dread angels swell the song
That through the ages rolls along.
S22 APPENDIX II
xii. We pray that God's angelic band (130)
May fulfil ever His command,
And help all people here on earth
God's Word to prize at highest worth.
Paul Eber (D).
47. Herr GOTT DICH LOBEN WIR
i. Thee, Lord our God, we praise, (16, 190)
To Thee our thanks we raise,
ii. The whole wide world doth worship Thee, (16)
Who Father art and e'er shalt be.
XX. We therefore pray Thee, help us, Lord, (120)
Whom Thou'st redeemed with Thy Blood ;
xxi. That 'mid the saints we numbered be (120)
Around Thy throne eternally. (D.)
xxii. O Christ, our Lord, Thy people guide, (119, 120)
For all their wants do Thou provide,
xxiii. Upon their heads Thy blessings pour, (119, 120)
Exalt them now and evermore.-
Martin Luther (A).
48. Herr Jesu Christ, du hochstes Gut
i. Jesus, Thou source of every good, (113)
And fountain of salvation.
Behold me bowed beneath the load
Of guilt and condemnation :
My sins indeed are numberless ;
O Lord, regard my deep distress,
Reject not my petition,
ii. In pity look upon my need, (113, 131)
Remove my sore oppression ;
Since Thou hast suffered in my stead,
And paid for my transgression.
Let me not yield to dark despair ;
A wounded spirit who can bear?
O show me Thy salvation.
APPENDIX II 523
iv. But Thy reviving gospel-word, (113)
That calls me to repentance,
Doth joy unspeakable afford,
Revokes the righteous sentence,
And tells me Thou wilt not despise
A broken heart, in sacrifice.
That turns to Thee, Lord Jesus.
viii. O, for Thy name's sake, let me prove (113, 168)
Thy mercy, gracious Saviour :
The yoke which galls me, soon remove.
Restore me to Thy favour :
Thy love shed in my heart abroad.
That I may live to Thee, my God,
And yield Thee true obedience.
(N, no. 278.)
V. Right sore my conscience doth reproach (131)
The sins that do beset me !
How can I to God's throne approach.
Or to my Judge submit me?
'Tis Jesus' Blood that maketh clean,
How black soe'er our sin hath been :
He can and will deliver.
vii. Forgive me, Lord my God, I pray, (113)
The faults Thy just wrath have incurred,
And break the heavy load of sin
Which snares me helpless as a bird.
So shall my heart find peace and rest.
To Thy great praise and honour living,
And Thy dread Word obediently fulfilling '.
Bartholomaus Ringwaldt (D).
1 The German text is a paraphrase of Ringwaldt's seventh stanza.
524 appendix ii
49. Herr Jesu Christ, ich schrei zu dir
xii. O Jesu Christ, man's surest stay, (48)
Who comfort rare dispensest.
My anguish sore is known to Thee,
'Tis Thou alone help sendest.
But as Thou wilt so let it be,
In Thy sure wisdom deal with me ;
Thine am I now and ever.
Anonymous (D).
50. Herr Jesu Christ, ich weiss gar wohl
iii. O dear Lord Jesu, watch o'er me (166)
With sheltering care for ever.
Nor let me ever heedless be
Or from my thoughts Thee sever.
0 hold me ever in Thy love,
And call my soul to realms above
To part from Jesus never.
Bartholomaus Ringwaldt (D).
51. Herr Jesu Christ, wahr'r Mensch und
GOTT
i. Lord Jesus Christ, true Man and God, (127)
Who borest anguish, scorn, the rod,
And diedst at last upon the tree.
To bring Thy Father's grace to me;
1 pray Thee through that bitter woe.
Let me, a sinner, mercy know.
viii. Dear Lord, forgive us all our guilt, (127)
Help us to wait until Thou wilt
That we depart ; and let our faith
Be brave and conquer e'en in death,
Firm resting on Thy sacred Word,
Until we sleep in Thee, our Lord.
Paul Eber (E, p. 241).
APPENDIX II 525
52. HERR, WIE DU WILLT, so SCHICK'S MIT MIR
i. Lord, as Thou wilt, so deal with me (73, 156)
Who on Thy will am grounded.
With Thee alone my soul would be.
Let me not be confounded.
0 hold me ever in Thy care,
And give me patience to declare
"Thy will be ever done. Lord."
Caspar Bienemann (D).
53. Herzlich lieb hab' ich dich, O Herr
i. Lord, all my heart is fixed on Thee, (174)
1 pray Thee, be not far from me.
With tender grace uphold me.
The whole wide world delights me not.
Of heaven or earth. Lord, ask I not.
If but Thy love enfold me.
Yea, though my heart be like to break.
Thou art my trust that nought can shake,
My portion and my hidden joy,
Whose Cross could all my bonds destroy ;
Lord Jesu Christ ! My God and Lord !
Forsake me not who trust Thy word '
(B, no. 119.)
iii. My God, when Thou shalt call me home, (149)
O let my Guardian Angel come
To bear my soul to Heaven !
My body in the tranquil tomb
Shall slumber till the day of doom,
When graves in twain are riven.
In that dread hour when I arise,
O grant to mine unworthy eyes
With rapture to behold Thy face,
My Saviour and my throne of grace.
526 APPENDIX II
O Jesu Christ, hear Thou my cry,
That I may dwell with Thee on high.
Martin Schalling' (A).
54. HERZLICH THUT MICH VERLANGEN
iv. Though worms destroy my body (161)
Within its earth-bound grave,
Yet Christ one day shall call me
And from the tomb me save.
Then, clothed in radiant glory.
Before my God I'll sing
Of His great love the story.
O Death, where is thy sting !
Christoph Knoll (D).
55. ICH ARMER MENSCH, ICH ARMER SUNDER
i. Before God's throne I prone do place me, (179)
A sinner frail and mortal wight.
Deal with me. Lord, in love I pray Thee,
And give me favour in Thy sight.
Have mercy on me, Saviour mine,
Absolve me, make me wholly Thine.
Christoph Tietze (D).
56. ICH DANK' DIR, LIEBER HeRRE
iv. O faith undoubting grant me (37)
In Jesus Christ our Lord ;
May all my sins forgiven be.
And I to grace restored.
For sure He'll not deny me
But his true word fulfil.
Take all my sin upon Him,
And free me from its ill.
Johann Kolross (D).
1 The melody requires that the second half of the eleventh line
of the stanza be repeated.
APPENDIX II 527
57- ICH FREUE MICH IN DIR
i. In Thee will I rejoice (133)
And ever loving greet Thee ;
For, dearest Saviour mine,
Thy promise hast Thou given me
My Brother e'en to stand.
How sweet the name doth sound !
And, O ! the unmeasured love
In God's dear Son is found !
iv. So let what e'er betide, (133, U i)
On Jesu will I stay me ;
If earth to atoms break,
Yet shall it not affray me.
On Thee, O Jesu mine,
My heart alone is set,
Nor, resting on Thy love.
Can aught on earth me fret.
Caspar Ziegler (D).
58. ICH HAB' IN GOTTES HERZ UND SINN
i. To God's all-gracious heart and mind (92)
My heart and mind I yield ;
In seeming loss my gain I find,
In death life stands revealed.
I am His own.
Whose glorious throne
In highest heaven is set ;
Beneath His stroke
Or sorrow's yoke
His heart upholds me yet.
ii. There is but one thing cannot fail, (92)
That is my Father's love ;
A sea of troubles may assail
My soul, — 'tis but to prove
528 APPENDIX II
And train my mind,
By warnings kind,
To love the Good through pain ;
When firm I stand,
Full soon His hand
Can raise me up again.
xii. But must I walk the vale of death (92)
Through sad and sunless ways,
I pass along in quiet faith,
Thy glance my fear allays ;
Through the dark land
My Shepherd's hand
Leads to an end so bright,
That I shall there
With praise declare
That all God's ways are right !
(K, p. 213.)
V. How great the wisdom of our God, (92)
How wise His understanding !
Both time and space obey His nod
And fulfil His commanding !
He sorrow sends
And gladness lends
As best it seemeth to Him ;
His every deed
Supplies our need.
So therefore I will trust Him.
(D.)
X. My God, I give myself to Thee, {65, 92)
On Thy great love relying,
Do Thou in life my helper be,
My light when I am dying.
Inchne me still
To do Thy will,
APPENDIX II 529
Be that my one endeavour,
Through all my days
To sing Thy praise
And worship Thee for ever !
Paul Gerhardt (A).
59. ICH ruf' zu dir, Herr Jesu Christ
i. Lord, hear the voice of my complaint, (177, 185)
To Thee I now commend me ;
Let not my heart and hope grow faint,
But deign Thy grace to send me ;
True faith from Thee, my God, I seek,
The faith that loves Thee solely.
Keeps me lowly.
And prompt to aid the weak,
And mark each word that Thou dost speak.,
V. Help me, for I am weak ; I fight, (177)
Yet scarce can battle longer ;
I cling but to Thy grace and might,
'Tis Thou must make me stronger ;
When sore temptations are my lot.
And tempests round me lower,
Break their power.
So, through deliverance wrought,
I know that Thou forsakest me not !
Johannes Agricola (B, no. 116).
60. ICH WILL ZU ALLER STUNDE
xiv. O let me sing God's praises (107)
Throughout all my life long !
Give me a voice that raises
Unfathomed thanks and song.
Most Holy Trinity,
Whose grace doth e'er abound
And care and ill confound.
All praise eternally ! ? David Denicke (D).
T. B. C. 34
530 APPENDIX II
61. In ALLEN MEINEN THATEN
i. Where'er I go, whate'er my task, (97) •
The counsel of my God I ask,
Who all things hath and can ;
Unless He give both thought and deed
The utmost pains can ne'er succeed,
And vain the wisest plan.
(E (ii), p. 108.)
XV. To God, my soul, resign thee, (13, 44, 97)
To faith in Him confine thee,
Who hath thy being given :
Whatever may betide thee,
Through all things He will guide thee.
Thy all-wise Father in heaven.
Paul Flemming (C).
62. In dich hab' ich gehoffet, Herr
i. In Thee, Lord, have I put my trust, (52)
Leave me no^ helpless in the dust,
Let not my hope be brought to shame,
But still sustain.
Through want and pain,
My faith that Thou art ^ye the same.
(B, no. lao.)
vii. All glory, praise, and majesty (106)
To Father, Son, and Spirit be.
The holy, blessed Trinity, '
Whose power to us
Gives victory.
Through Jesus Christ. A.men, Amen.
Adam Reissner (A).
APPENDIX II 531
63. 1st GoTT MEIK SCHILD UND HELFERSMAlSfN
iv. God is my Shield and Helper true, (8i;)
No ills can vex ; ^many or few,
He drives my foes before me.
On their own heads the pains shall fkll
'Gainst me designed ; for at a call
My God is ever near me.
Ernst Christoph Hombiirg (D).
64. Jesu, der du meine Seele
i. Jesu ! Who in sorrow dying (78)
Didst deliverance bring to me,
Whilst my sins for vengeance crying
Nailed Thee to the shameful tree ;
Thou Who Satan's power subduest,
And the sinner's hope renewest,
Biddest all so graciously
That I needs must come to Thee.
xii. I believe ; — in Thee believing, (78)
Leave me not, O Lord, to die :
Strength and grace from Thee receiving,
I may sin and death defy.
Now I stay me on Thy blessing.
Till, the sight of Thee possessing,
I shall live from conflict free,
Happy in Eternity. (O, no. 78.)
xi. From my guilty soul, I pray Thee, (105)
Move the heavy load of sin.
Thy sure promise. Lord, O grant me.
Let it ease my heart within ;
Through our life's long journey here
Ever may Thy comfort cheer.
Who on Thee in faith believeth
Sure protection e'er receiveth.
Johann Rist (D).
34—2
532 APPENDIX ri
65. Jesu Leiden, Pein und Tod
xxxiii. Jesu, all Thy bitter pain (159, 182)
Was for my salvation ;
Thine the wounds, O Victim slain,
Mine the great Oblation.
Riseth up my soul with joy
Gratefully to thank Thee
For the bliss without alloy
That the Cross hath won me.
Paul Stockmann (D).
^. Jesu, meine Freude
i. Jesu, priceless treasure, (M 3)
Source of purest pleasure,
Truest friend to me ;
Ah, how long I've panted.
And my heart hath fainted.
Thirsting, Lord, for Thee !
Thine I am, O spotless Lamb,
I will suffer nought to hide Thee,
Nought I ask beside Thee,
ii. In Thine arm I rest me, (81, M 3)
Foes who would molest me
Cannot reach me here ;
Though the earth be shaking,
Every heart be quaking,
Jesus calms my fear ;
Fires may flash, and thunders crash,
Yea, and sin and hell assail me;
Jesus will not fail me.
iv. Hence with earthly treasure, (M 3)
Thou art all my pleasure,
Jesu, all my choice.
Hence, thou empty glory,
Nought to me thy story.
APPENDIX II 533
Told with tempting voice;
Pain, or loss, or shame, or cross,
Shall not from my Saviour move me.
Since He deigns to love me.
vi. Hence, all fears and sadness, (M 3)
For the Lord of gladness,
Jesus, enters in ;
They who love the Father,
Though the storms may gather.
Still have peace within ;
Yea, whate'er I here must bear.
Still in Thee lies purest pleasure,
Jesu, priceless treasure. (A.)
V. Fare thee well for ever, (64)
From earth now I sever.
Gone its woe and wail.
Farewell, too, my blackening sin.
All uncleanness foul within.
No more me assail !
Farewell glittering pride and pelf.
Farewell my unworthy self.
Fare thee well for ever !
Johann Franck (D).
tj. Jesu, meiner Seelen Wonne
ii. Jesu, refuge, dearest Saviour, (154)
Jesu, best and strongest stay,
Jesu, Death's all-conquering slayer,
Jesu, brightest guiding ray !
How for Thee my lone heart sigheth.
With what love to Thee it crieth !
Come, O come, I pine for Thee,
Dearest Jesu, come to me !
vi. O how dear is Jesu's loving, (147)
Firmly to Him will I cling.
534 APPENDIX 11
With sweet c^re He's e'er removing
From life's troubles smart and sting.
He is mine and me He Ipveth,
He was dead and for me liveth.
Fi-pm Him never will I stray,
Nor can Death's dark fears dismay.
xvii. Jesus my dear joy remaineth, (147)
My heart's solace and its stay ;
Powers of ill my soul disdaineth,
On Him all my need I lay.
He's my heart's fond hope and pleasure,
My soul's rapture, dearest treasure.
' He is with me day and night,
Ever in my heart and sight.
Martin Janus (D).
68. JESU, NUN Sm GEPREISET
i. Jesus, now will we praise Thee, (41)
Thus far in safety brought,
And grateful anthems raise Thee,
For all that Thou hast wrought.
Thy gifts are we possessing
In this; glad opening year :
How full of grace and blessing
Its advent doth appear.
Through Thee from ill defended
The old year have we ended.
We would to Thee be living
Throughout the coming year,
Qurselves to Thee be giving
Through all our lifetime, here.
iii. To Thee alone be glory, (41, 171)
To Thee alone be praise :
Thy Passion's, moving story
Shall govern all our ways.
APPENDIX II 535
Till, freed from earthly sadness,
Wfe take otii heavenward fligiit,
To dwell with peace and gladness
In God's most holy sight.
To all men shall Thy pleasure
Their good and evil measure :
On Thee then safely staying.
Let Christian people sing,
With hearts and voices praying.
That good this year may bring. (A.)
ii. May this New Year before us (190)
Add praises to God's name.
Good Christians all in chorus
Your loudest carols frame.
Lord by Thy might and power
Grant us long days on earth ;
Thy richest blessings shower
On our dear land of birth.
O shield it 'neath thy strong wing.
May this New Year firm peace bring.
Stablish among the nations
Thine own Almighty realm,
And all earth's vain delusions
Right utterly o'erwhelm.
Johann Hermann (D).
69. KOMM, GOTT SCHOPFER, HEILIGER GEIST
i. Come, Holy Ghost, eternal God, (D 2)
Our hearts and minds inspire
To set on truth and godliness
Our life's one long desire.
Martin Lutheri (D).
' The translation is an adaptation of the version in Archbishop
Parker's Psalter, 1553-58, quoted in the Dictionary of Hymnology,
p. 1209.
536 APPENDIX II
70. KOMM, HEILIGER GEIST, HERRE GOTT
i. Come, Holy Spirit, God and Lord, (59)
Be all Thy graces now outpoured
On the believer's mind and soul,
And touch our hearts with living coal.
Thy Light this day shone forth so clear,
All tongues and nations gathered near
To learn that faith, for which we bring
Glad praise to Thee, and loudly sing.
Hallelujah ! Hallelujah !
(B, no. 72.)
iii. Look down. Holy Dove, Spirit bow ; (M 2)
Descend from heaven, and help us now :
Inspire our hearts while humbly kneehng.
To pray with zeal and contrite feeling !
Prepare us, through Thy cleansing power.
For death, at life's expiring hour:
That we may find the grave a portal
To Thee in heaven and life immortal !
Hallelujah! Hallelujah!
Martin Luther (A).
71. KOMM, JESU, KOMM, MEIN LEIB 1ST MUDE
xi. When called by Thee I gain Thy portal, (M 5)
Mine will be joys no worlds can give ;
There shall I know my pains were mortal,
There will my soul in glory live.
There I around Thy Throne shall hover,
There, my Redeemer, 1 shall sing Thy praise for ever.
Anonymous (A).
APPENDIX II 537
72. KOMMT HER ZU MIR, SPRICHT GOTTES SOHN
xvi. For quhat Eternall God of peace (86)
Hes promeist throw his Spirite of grace,
And syne sworne be his haly name,
That he sail hald baith trew and sune.
God grant that we may s6 his Throne,
Throw Faith in Jesus Christ. Amen.
Georg Gruenwald (G, p. 32).
{Reconstruction.)
xvi. For what the eternal God of peace (86)
Has promised of His heavenly grace
And sworn to by His holy name.
That will He truly soon perform.
God grant that we may see His throne,
Through faith in Jesus Christ, His Son.
(D.)
73. KOMMT, LASST EUCH DEN HERREN LEHREN
vi. Blest are they who feel compassion (39)
For another's bitter need.
For the poor make intercession,
And with bread the hungry feed ;
They who help with kindly word.
Or to deeds of love are stirred.
Unto them shall help be given.
And a sure reward in heaven.
David Denicke (A).
74. LIEBSTER GOTT, WANN WERD' ICH STERBEN?
i. When will God recall my spirit? (8)
Lives of men run swiftly by ;
All who Adam's frame inherit.
One among his heirs am 1,
538 APPENDIX II
Know that this befalls the race,
They but for a little space
Dwell on earth in want and mourning,
Soon to earth themselves returning.
V. Thou that life and death ordainest, (8)
Make it mine in peace to die ;
Let me yield the soul Thou trainest,
With a courage calm and high.
Grant that I an honoured grave
With the holy dead may have,
Earthly grief and toil forsaking,
Nevermore to shame awaking.
Caspar Neumann (A).
75. LlEBSTER IMMANUEL, HeRZOG DER FROM-
MEN
i. O come, Immanuel, Prince of the lowly, (123)
Thou, our salvation's hope, quickly appear !
Thou knowest my heart is Thine, yea, and Thine wholly.
Bums for Thee, trusts in Thee, knowing no fear.
Farewell, vain earth.
Trivial thy worth !
Comes the Great Day when my God draweth near.
V. How ill content me earth's hollow pleasures ! (123)
Thou, Jesus, art my life, bone of my bone.
For Thee I sacrifice all this world's treasures;
Thou shalt direct me e'er, Thou, Thou alone.
Thou hast my heart,
Never we'll part,
Once from the grave I soar to Thy far throne.
Ahashuerus Fritsch (D).
APPENDIX II 539
76. Lobe den Herren, den machtigen Konig
DER EHREN
i. Praise to the Lord ! the Almighty, the King of
creation ! (137)
O my soul, praise Him, for He is thy health and
salvation !
All ye who hear,
Now to His temple draw ijear.
Join me in glad adoration !
ii. Praise to the Lord ! who o'er all things so wondrously
reigneth, (137)
Shelters thee under His wings, yea so gently sustaineth;
Hast thou not seen
How thy desires have been
Granted in what He ordaineth ?
iv. Praise to the Lord ! who doth prosper thy work and
defend thee, (137, U 3)
Surely His goodness and mercy here daily attend thee;
Ponder anew
What the Almighty can do.
If with His love He befriend thee !
V. Praise to the Lord ! Oh let all that is in me adore
Him ! (137, U 3)
All that hath life and breath, come now with praises
before Him !
Let the Amen
Sound from His people again.
Gladly for aye we adore Him !
Joachim Neander (B, no. 9).
540 APPENDIX II
TT. LOBT GOTT, IHR CHRISTEN ALLE GLEICH
viii. Wide open stands the once closed door (151)
To Eden's garden ways ;
The Angel guardeth it no more.
To God be thanks and praise'.
Nicolaus Herman (D).
78. Mache DICH, MEIN Geist, BEREXT
i. Rise, my soul, to watch and pray, (115)
From thy sleep awake thee.
Lest at last the evil day
Suddenly o'ertake thee ;
For the foe.
Well we know.
Oft his harvest reapeth
While the Christian sleepeth. (B, no. 125.)
X. Let us then with lowly fear, (115)
Watch and pray unceasing ;
For the dread hour draweth near,
Judgment fears increasing.
Speeds the day
Unerringly
When the Great Judge cometh
And creation doometh.
Johann Burchard Freystein (D).
79. MACH'S MIT MIR, GOTT, NACH DEINER GUT
i. Deal with me, God, in mercy now, (156)
O help me in my utter woe.
Thine ear to me in pity bow ;
When hence my soul must quickly go.
Receive her, as her God and Friend,
For all is right if right the end.
Johann Hermann Schein (B, no 191).
' To fit the tune, the words of the last line must be repeated.
appendix ii 541
80. Meine Seel' erhebt den Herren
My soul doth magnify the Lord, (10)
And my spirit hath rejoiced in God my Saviour.
For He hath regarded the lowliness of His hand-
maiden.
For behold, from henceforth all generations shall call
me blessed.
Glory be to God the Father, and the Son,
And to the Holy Spirit :
As it was in the beginning, and is now.
And shall be world without end. Amen.
(C.)
81. Meinen Jesum lass' ich nicht
i. Jesus will I never leave, (124)
He's the God of my salvation ;
Through His merits I receive
Pardon, life and consolation :
All the powers of my mind
To my Saviour be resigned,
vi. With my Jesus I will stay, (124, 154, 157)
He my soul preserves and feedeth ;
He the life, the truth, the way.
Me to living waters leadeth :
Blessed who can say with me,
Christ, I'll never part with Thee.
(N, no. 452.)
v. Not by earth or heaven bright (70)
Is my longing soul beguiled.
But by Jesus and His light
I to God am reconciled.
Saved by Him from judgment sore,
Jesus shall I leave no more.
Christian Keimann (A).
542 appendix ii
82. Mix Fried' und Freud' ich fahr' dahxn
i. In joy and peace I pass away, (95, 106, 125)
Whene'er God willeth.
The fears that vex my anxious soul
His love stilleth.
Trusting in His promise sure,
In death I sleep calm and secure.
(A.)
ii. 'Tis Christ hath wrought this work for me, (125)
Thy dear and only Son,
Whom Thou hast suffered me to see.
And made Him surely known
As my Help when trouble's rife.
And even in death itself my Life.
iv. He is the heathen's saving Light, (83, 125)
And He will gently lead
Those who now know Thee not aright.
And in His pastures feed ;
While His people's joy He is.
Their Sun, their glory, and their bliss.
Martin Luther (B, no. 81).
83. NiMM VON UNS, HERR, DU TREUER GoTT
i. Remove from us, O faithful God, (loi)
Thy dreadful and avenging Rod,
The Number of our crying Crimes
Has well deserved a thousand Times.
Sad Famine, War, and Pestilence
Prevent by Thy good Providence.
iii. To Thee we trust, to Thee we sigh (loi)
And lift our heavy Souls on high.
Give us an Instance of Thy Grace
In showing Thy relieving Face ;
By true Repentance bring us Home
And save us from the Wrath to come.
APPENDIX II 543
iv. Why wilt Thou raise Thy dreadful Storms (loi)
Against so vile and feeble Worms ?
Thou Author of our Being knowst
That this our Frame is Earth and Dust ;
Our best Endeavours are but frail,
If Thou dost search we greatly fail.
V. Sin still besets us everywhere, (loi)
Nor Satan fails to lay his Snare,
The wicked World with Flesh and Blood
Conspire to rob us of all Good.
O Lord, this is not hid from Thee,
Have mercy on our Misery.
vi. Look on Thy Son's most bitter Death, (loi)
Wounds, Agonies, and parting Breath,
These dreadful Sufferings of Thy Son
Atoned for Sins which we had done ;
O ! for His Sake our Guilt forgive.
And let the mourning Sinners live.
vii. O Lord, conduct us by Thy Hand, (90, loi)
And bless these Realms by Sea and Land ;
Preserve Thy Word amongst us pure.
Keep us from Satan's Wiles secure ;
Grant us to die in Peace and Love,
And see Thy glorious Face above.
Martin Moller (L, p. 123).
84. Nun bitten wir den heiligen Geist
iii. Thou swete love, graunt us altogether (169, 197)
To be unfayned in charite ;
That we may all love one another,
And of one mynde alwaye to be.
Kirieleyson.
Martin Luther (I, p. 543),
544 APPENDIX II
{Reconstruction. )
iii. O sweetest love, grant to us alway (169, 197)
To be unfeigned in charity ;
That we may all love one another,
And of one mind always be.
Kyrie eleison. (D.)
85. Nun danket alle Gott
i. Now thank we all our God, (79, 192)
With heart and hands and voices,
Who wondrous things hath done,
In whom His world rejoices ;
Who from our mother's arms
Hath blessed us on our way
With countless gifts of love.
And still is ours to-day.
iii. All praise and thanks to God (192)
The Father now be given,
The Son, and Him who reigns
With them in highest heaven,
The one eternal God,
Whom earth and heaven adore,
For thus it was, is now.
And shall be evermore !
Martin Rinkart (B, no. 11).
86. Nun danket all' und bringet Ehr'
i. Now, mortals all, your voices raise,- (195)
Acclaim God lustily.
Whom angel hosts throng with their praise
Before His throne on high.
Paul Gerhardt (D)i.
' The structure of the melody requires that the last line of the
stanza be repeated.
appendix ii 545
87. Nun komm, der PJeiden Heiland
i. Come, Redeemer of our race, (36, 61, 62)
Virgin bom by holy grace.
Hailed by all the wondering earth :
God of old ordained His birth.
(A.)
vi. With the Father equal Thou, (36)
Flesh of our flesh evermore.
Our frail bodies O endow
With grace from Thy plenteous store.
viii. Praise to God the Father be, (36, 62)
Praise and glory to the Son,
Glory, Holy Ghost, to Thee,
While eternal ages run.
Martin Luther (D)'.
88. Nun lasst uns Gott dem Herren
V. Thy Word and blessed Blood, (165)
The Font's sin-cleansing flood,
On these Thy Spirit guide us
To stand, whate'er betide us !
(D.)
viii. Firm in Thy Truth retain us, (79)
And ever more sustain us.
To praise Thy Name to all men.
Through Christ our Saviour. Amen.
Ludwig Helmbold (A).
89. Nun lob', mein' Seel', den Herren
i. My soul, O praise the Lord thy God, (28)
O praise for aye His holy name ;
He crowneth thee with mercies.
His benefits forget thou not.
1 Stanzas vi and viii are a reconstruction of Hymns Ancient and
Modern, No. 55.
T. B. C. 35
546 APPENDIX II
Thy sin hath He forgiven,
And aided thy distress,
His works the earth have filled.
Green herbs He bringeth forth,
And com for all man's service,
That they may furnish food.
O praise the Lord of harvest,
Sing praise unto His holy name.
(A.)
Like as a father bendeth (17, M i)
In pity o'er his infant race ;
So God the Lord befriendeth
The meek and lowly heirs of grace.
That we are frail He knoweth,
Like sheep, we go astray :
Like grass the reaper moweth.
We fall and fade away !
Like wind that ever flieth.
We are but passing breath ;
Thus man each moment dieth.
For life must yield to death.
(A.)
All laud and praise with honour (28 n., 29, 5 1, 167)
To Father, Son and Holy Ghost,
Who will fulfil the promise
To give us all that we need most.
In Him, too, firmly trusting.
All evil we have withstood.
Our faith upon Him resting,
With all our heart, mind and mood.
In Him alone believing.
We raise our thankful strain.
Amen, all joy receiving,
If we our faith maintain.
Johann Graumann (C).
APPENDIX II 547
90. O EWIGKEIT, DU DONNERWORT
i. Eternity, tremendous word, (20, 60)
A soul and body piercing sword.
Beginning without ending !
Eternity, a timeless tide
On which no sorrows e'er may ride,
To thee I'd fain be wending.
My heart affrighted scarce can breathe.
My tongue doth to my palate cleave,
xi. Though God our King from Heaven, His place, (20)
Looks down upon the human race.
Yet Nature's ills assail us.
The thunder's roll, the lightning's flash.
Grim pain and want our bodies lash ;
Yet shall they not confound us.
And only may our troubles cease
When God's good time shall give release,
xvi. Eternity, tremendous word, (20)
A soul and body piercing sword.
Beginning without ending !
Eternity, a timeless tide
On which no sorrows e'er may ride.
To thee I'd fain be wending.
Lord Jesus Christ, O grant it me
That Heaven's pure joys one day I see.
Johann Rist (D).
91. O GOTT, DER DU AUS HERZENSGRUND
ix. O let Thy watchful Angel band (D 3)
Defend our Church and nation !
Let peace and quiet on every hand
E'er bless Thy whole creation.
May Satan's realm and evil sway
Be overthrown now and alway
By Thine almighty power.
35—2
548 APPENDIX II
X. So, when on brink of death we stand, (D 3)
Let Satan not deceive us ;
But, drawn by Thy most loving hand,
Into Thy Halls receive us,
To where through Heaven's farthest bounds
The "Holy, Holy, Holy" sounds.
In praise to Thee unceasing.
? Justus Gesenius (D).
92. O GOTT, DU FROMMER GOTT
i. O God, Thou faithful God, (24)
Thou Fountain ever flowing,
Without Whom nothing is.
All perfect gifts bestowing;
A pure and healthy frame
O give me, and within
A conscience free from blame,
A soul unhurt by sin.
ii. And grant me, Lord, to do, (45)
With ready heart and willing,
Whate'er Thou shalt command,
My calling here fulfilling.
And do it when I ought.
With all my strength, and bless
The work I thus have wrought.
For Thou must give success.
vi. And if a longer life (71)
Be here on earth decreed me,
And Thou thrpugh many a strife
To age at last will lead me,
Thy patience on me shed.
Avert all sin and shame.
And crown my hoary head
With pure untarnished fame.
Johann Heermann (B, no. 115).
APPENDIX II 549
93- O GoTTES Geist, mein Trost und Rath
ix. God Holy Ghost, to Thee I pray, (175)
O grant me help that so I may
A better, purer life be living,
And win at length my sins' forgiving.
Thy word shines like the Morning Star,
Whose beams enlighten near and far.
So may I now, and e'en alway.
Thy just behests alone obey,
Johann Rist (D).
94. O GROSSER GOTT VON MACHT
ix. O Lord, Thou God of truth, (46)
Before Whom none may stand,
If Jesus Christ Thy Son
Stay not Thy wrathful hand.
O ! to His wounds have Thou regard.
His anguish, pain, and body marred.
For His dear sake O spare us.
And on Thy mercy bear us.
Balthasar Schnurr (D).
. 95. O Haupt voll Blut und Wunden
vi. Here would I stand beside Thee; (159)
Lord, bid me not depart !
From Thee I will not sever,
Though breaks Thy loving heart.
When bitter pain shall hold Thee
In agony opprest,
Then, then will I enfold Thee
Within my loving breast.
Paul Gerhardt (A).
5 so APPENDIX II
96. O Herre Gott, dein gottlich Wort
viii. O Lord, we pray, (184)
At our last day
In anger do not leave us.
May we who are Thine,
Marked by Thy sign.
Hold fast the Word bequeathed us.
Grant us to be
Eternally,
Of faith and trust possessed.
In certainty
Thy face to see,
Our sins washed white, our souls at rest.
? Anark of Wildenfels (D).
97. O Jesu Christ, mein's Lebens Light
i. Lord Jesus Christ, my Life, my Light, (118)
My strength by day, my trust by night,
On earth I'm but a passing guest.
And sorely with my sins oppressed,
ii. Far off I see my fatherland, (58)
Where through Thy grace I hope to stand,
But ere I reach that Paradise
A weary way before me lies.
Martin Behm (B, no. 190).
98. O Jesu, meine Lust
iv. My way is Thine, O God, (128)
For Thou dost guide me truly
With all a Father's love.
And deignest e'en to call me
To join Thee where Thou art
Amid Thy glory throned,
Him evermore to serve
Who hath my sin atoned.
Matthaus Avenarius (D).
APPENDIX II SSI
99- SCHAU', LIEBER GOTT, WIE MEINE FEIND'
i. How many and how mighty, Lord, (153)
The foes who press upon me !
Sore grievously they me assail.
My spirit faints within me.
Lord, in their wiles do them enmesh,
So shall the Devil, World, and Flesh
Prevail not e'er against me.
? David Denicke (D).
100. SCHMUCKE DICH, O LIEBE SEELE
i. Soul, array thyself with gladness, (180)
Leave the gloomy caves of sadness ;
Come from doubt and dusk terrestrial,
Gleam with radiant light celestial :
For the Lord, divine and gracious,
Full of gifts both rare and precious.
He of love itself the essence.
Bids Thee to His sacred Presence.
iv. Ah, what longing fills my spirit, (180)
All Thy promise to inherit !
Now with tears my soul is yearning.
Now with flames of ardour burning ;
Thirsts for Thee from mom till even.
Hungers for Thy heavenly leaven ;
Craving only this high pleasure,
Union with its holiest Treasure.
ix. Lord of Life, I pray Thee hear me : (180)
Be Thy Presence ever near me ;
Strength and Will of God uphold me ;
Mighty wings of Love enfold me.
Through my life, whate'er betide me,
Thou, O God, defend and guide me;
And, when Death itself befall me.
To Thy heavenly Kingdom call me.
Johann Franck (C).
552 APPENDIX 11
101. SCHWING' DICH AUF ZU DEINEM GOTT
ii. Shake thy head and sternly say, (40)
Serpent ! hence ! avaunt thee !
Why dost torture me alway?
To my trouble haunt me ?
Bruised is thy horrid head ;
By the pain and sadness
Of my Saviour am I led
To the halls of gladness.
Paul Gerhardt (C).
102. Sei Lob und Ehr' dem hochsten Gut
i. All praise and thanks to God most High, (117)
The Father, Whose is perfect love ;
The God Who doeth wondrously,
The God Who from His Throne above
My soul with richest solace fills.
The God Who every sorrow stills ;
Give glory now to Him, our God !
iv. I sought Him in my hour of need, (117)
I cried, — Lord God, now hear my prayer !
For death He gave me life indeed, >
And hope and comfort for despair ;
For this my thanks shall endless be,
O thank Him, thank Him too with me ;
Give glory now to Him, our God !
(B, no. 2.)
ix. So come ye now into His courts (117)
With glad and grateful singing,
Nor from His service turn your thoughts.
To Godward set them winging.
He all things hath most wisely planned
And fashioned them in His right hand.
Give glory now to Him, our God !
Johann Jakob Schiitz (D).
APPENDIX II 553
103. SeLIG 1ST DIE SeELE
ix. When dark cares oppress me, (87)
Since my Jesus loves me,
Vanishes my woe.
Sweeter than the honey.
Precious beyond money,
Jesus' love I know.
What though pain
Hath on me lain !
His love can convert to gladness
E'en the deepest sadness.
Heinrich MuUer (D).
104. Singen WIR AUS Herzensgrund
iv. Right well hath God the world ordained, (187)
Good things upon us He hath rained.
His the valleys and the hills,
Herbs and pasture-feeding rills.
His the earth's rich harvest store.
With smiling plenty earth He wreathes.
And life into our being breathes,
vi. We thank Him and we praise Him too (187)
That He doth our dull sense renew
To learn His Spirit's bounteous grace.
In His just laws to run our race.
And glorify Him here on earth.
So sing with joy unceasingly
Loud "gratias" to God on high.
Anonymous (D).
105. So WAHR ICH LEBE, SPRICHT DEIN GOTT
vi. Amend your ways while yet you may, (102)
For morrow comes, too late to pray.
To-day is with us ; use it well,
Lest morning find your soul in Hell.
Repentant, then, approach your end ;
So shall your soul to God ascend.
554 APPENDIX II
vii. O dear Lord Jesu, help Thou me (102)
My footsteps to direct to Thee,
And bring me contrite to Thy throne.
And if Thou summonest me soon,
To-day, to-morrow, home on high.
May I be ready, Lord, to die.
Johann Heermann (D).
106. Treuer Gott, ich muss DIR KLAGEN
vi. Holy Spirit throned in Heaven, (194)
One with God eternally.
And the Son, for man's sins given.
Source of joy and ecstasy.
All my being is aflame
With the love of Thy great name.
Of Thy grace watch ever o'er me,
Nor withdraw Thy goodness from me.
vii. Send, O send Thy comfort to me, (194)
Shelter deep within my heart.
Lord, fulfil Thy purpose in me.
Make my will of Thine a part.
Kindle in me virtue's glow.
Guide me whither I should go ;
Till to join the elect Death calls me.
And the victor's crown befalls me.
xii. All my days, O God, I'll praise Thee, (25)
And Thy mighty arm acclaim.
Care and sorrow flee before Thee,
Captives of Thy glorious name.
Lord, Thy praises will I sound
While there's breath within me found,
And hereafter shall my spirit
Still proclaim Thy glorious merit.
Johann Heermann (D).
appendix ii 555
107. Trostet, trostet, mexne Lieben
iii. For Elijah's voice is crying (30)
In the desert far and near,
Bidding all men to repentance,
Since the kingdom now is here.
O that warning cry obey,
Now prepare for God a way;
Let the valleys rise to meet Him,
And the hills bow down to greet Him.
Johannes Olearius (B, no. 83) ^
108. Valet will ich dir geben
i. Farewell I gladly bid thee, (95)
False, evil world, farewell !
Thy life is dark and sinful.
With thee I would not dwell :
In heaven are joys untroubled,
I long for that bright sphere
Where God rewards them doubled
Who served Him truly here.
Valerius Herberger (B, no. 137).
109. Verleih' UNS Frieden GNADIGLICH
i. Lord, in Thy mercy, grant us peace (42, 126)
Throughout our generation.
And make all bloody wars to cease.
Alone Thou'rt our salvation
And our availing champion.
• The text in Breitkopf & Haertel's English edition of the
Cantata is a substitution for, and not a translation of, Olearius'
stanza.
SS6 APPENDIX II
ii. Grant to our prince and magistrates (42, 126)
Peace and good regiment :
That under them we may be
Peaceably and quietly governed
In all godliness
And good fellowship. Amen.
Martin Luther (D).
1 10. VERZAGE NICHT, DU HAUFLEIN KLEIN
i. Fear not, O little flock, the foe (42)
Who madly seeks your overthrow,
Dread not his rage and power :
What though your courage sometimes faints.
His seeming triumph o'er God's saints
Lasts but a little hour.
Johann Michael Altenburg (E, p. 17).
111. Von Gott will ich nicht lassen
V. O praise Him, for He never (D 4)
Forgets our daily need ;
O blest the hour whenever
To Him our thoughts can speed ;
Yea, all the time we spend
Without Him is but wasted.
Till we His joy have tasted.
The joy that hath no end.
ix. For such His will who made us, (73)
The Father seeks our good ;
The Son hath grace to aid us,
And save us by His blood ;
His Spirit rules our ways,
By faith in us abiding,
To heaven our footsteps guiding ;
To Him be thanks and praise.
Ludwig Helmbold (B, no. 140).
appendix ii 557
112. Wach auf, mein Herz, und singe
ix. Ah Lord ! confirm and guide me, (194)
And ever stand beside me ;
Throughout life's toilsome journey
Thy sheltering care be with me !
X. With Thy dear love direct me, (194)
And father-like correct me,
O may Thy Scripture feed me.
And Heaven at last accept me.
Paul Gerhardt (D).
113. Wachet auf, ruft uns die Stimme
i. Sleepers wake ! for night is flying, (140)
The watchmen on thy walls are crying,
Thou city of Jerusalem !
Hear ye now ere comes the morning,
The midnight call of solemn warning :
Where are ye, O wise virgins, where?
Behold the Bridegroom comes,
Arise ! and take your lamps.
Alleluia !
Yourselves prepare,
Your Lord draws near.
He bids you to His marriage-feast.
ii. Zion hears her watchmen's voices, (140)
Their gladdening cry her soul rejoices.
The shadows of her night depart.
In His might her Lord appeareth.
His word of grace and truth she heareth,
The day-star riseth in her heart.
O come, in splendour bright,
Lord Jesu, Light of Light !
Hosianna !
We follow Thee
Thy joy to see.
Where everlasting bliss shall be.
5S8 APPENDIX II
iii. Glory now to Thee be given, (140)
On earth as in the highest heaven,
With lute and harp in sweetest tone.
All of pearl each dazzling portal.
Where we shall join the song immortal,
Of Saints and Angels round Thy throne.
Beyond all earthly ken
Those wondrous joys remain,
That God prepares.
Our hearts rejoice,
lo! lo!
Ever in dulci jubilo. Philipp Nicolai (A).
114. WAR' GOTT NICHT MIT UNS DIESE ZEIT
i. Were God not with us all the time, (14)
Israel must loud declare it.
Were God not with us all the time.
We should have now despaired ;
For we are such a little* flock,
Despised by such a crowd of folk,
Who all do set upon us !
iii. Thank God! their throat He did not yet (14)
Let swallow, though it gaped ;
As from a snare the bird doth flit,
So is our soul escaped.
The snare's in two, and we are through ;
The name of God it standeth true.
The God of earth and heaven.
Martin Luther (M, p. 68).
115. Warum betrubst du dich, mein Herz.'
i. Why art thou thus cast down, my heart.' (138)
Why troubled, why dost mourn apart.
O'er nought but earthly wealth?
Trust in thy God, be not afraid.
He is thy Friend, Who all things made.
APPENDIX II 5 59
Dost think thy prayers He doth not heed? (138)
He knows full well what thou dost need,
And heaven and earth are His ;
My Father and my God, Who still
Is with my soul in every ill.
Since Thou my God and Father art, (138)
I know Thy faithful loving heart
Will ne'er forget Thy child ;
See I am poor, I am but dust,
On earth is none whom I can trust.
What here may shine I all resign, (47)
If the eternal crown be mine.
That through Thy bitter death
Thou gainedst, O Lord Christ, for me —
For this, for this, I cry to Thee !
? Hans Sachs (B, no. 143).
116. WARUM SOLLT' ICH MICH DENN GRAMEN
xi. Lord, by Thee am I provided ! (M 4)
Thou art mine, I am Thine,
We are undivided ;
I am Thine, for Thou didst lave me
When the tide from Thy side
Flowed to cleanse and save me.
xii. Thou art mine, my Shepherd, lead me. (M 4)
Day and night, O my Light !
Shelter, guard, and feed me !
Never, never let us sever ;
Holding me, clasping Thee,
Keep me Thine for ever.
Paul Gerhardt (A).
560 appendix ii
117. Was alle Weisheit in der Welt
viii. So let our voices with accord, (176)
To Heaven's high portals winging,
Acclaim Thy might, O God and Lord,
Thine endless praises singing !
Alone Thou'rt King of Heaven's host.
Of other gods Creator !
God Father, Son, and Holy Ghost,
Our Saviour and Oblationer,
One Godhead, yet three Persons !
Paul Gerhardt (D).
118. Was frag ich nach der Welt
i. What reck I of the world, (64, 94)
Its vain and hollow pleasures?
Jesu, my love for Thee
Contemns its empty treasures.
On Thee, alone on Thee,
All my delight is stayed.
While on Thee I repose
How can I be dismayed?
iii. To vain and empty show (94)
The world doth give preferment.
How partial is its choice.
How doth it lack discernment !
But not on things below
Are my foundations laid.
If Jesus calls me His,
How can I be dismayed?
V. How doth the world dismay (94)
Contempt of its allurement.
Or failure to pursue
The joys of its procurement !
APPENDIX II 561
But Jesus by His Cross
All else pure dross hath made.
And since He loveth me,
How can I be dismayed?
vii. What reck I of the world? (94)
It fadeth in a moment,
Nor 'gainst Death's stem decree
Can gain an hour's postponement.
Its glories must decay,
Their lure in ashes laid.
But Jesu's at my side ;
How can I be dismayed ?
viii. What reck I of the world ! (94)
Lord Jesus doth enrich me.
My treasure great He is,
With love He doth bewitch me.
Mine, mine is Heaven's abode,
The price hath Jesus paid.
Wherefore I proudly cry,
How can I be dismayed?
Georg Michael Pfefferkorn (D).
1 19. Was Gott thut, das ist wohlgethan
i. Whate'er my God ordains is right, (98, 99, 100, 144)
Holy His will abideth ;
I will be still whate'er He doth,
And follow where He guideth.
He is my God,
Though dark my road,
He holds me that I shall not fall,
Wherefore to Him I leave it all.
V. Whate'er my God ordains is right, (75)
Though now this cup in drinking
May bitter seem to my faint heart,
I take it all unshrinking ;
T. B. C. 36
562 APPENDIX ri
Tears pass away
With dawn of day,
Sweet comfort yet shall fill my heart,
And pain and sorrow shall depart.
(B, no. 135.)
vi. What God ordains is best of all, (12,69,99,100)
Therewith will I content me.
Though fear of death upon me fall,
Though want and pain are sent me.
For God my Father tenderly
With His right arm will shield me ;
To Him I gladly yield me.
Samuel Rodigast (A).
120. Was mein Gott will, das g'scheh'
ALLZEIT
i. What my God wills be done alway, (72,111, 144)
His purpose is the best ;
He still abides my Strength and Stay,
The Rock whereon I rest.
Faithful indeed.
He helps in need ;
He chastens but in measure.
He'll ne'er forsake
The souls who make
His gracious will their pleasure.
(P, p. III.)
iv. Once more, dear Lord, I Thee intreat, (iii)
Thine ear incline unto me.
And when I Death's last summons meet
Encourage and sustain me.
O quickly raise
My soul to praise
Thyself in highest heaven.
APPENDIX II 563
Thou wilt not fail
Thy creatures frail ;
Wherefore Lord, Amen ! Amen !
Albrecht Margrave of Brandenburg- Culmbach (D).
121. Was willst du dich betruben
i. Why art cast down within thee? (107)
Why dost in doubting dwell?
Give but thy love, and deeply.
To our Immanuel.
In Him alone confide ;
For He will ne'er deny thee.
Nor fail to stand beside thee ;
He will for thee provide.
Johann Heermann (D).
122. WEG, MEIN HERZ, MIT DEN GEDANKEN
xii. Open wide the gates of mercy, (32)
Let the living fountains flow.
Those that taste its healing waters.
These shall all Thy sweetness know.
Call me to Thee, Love divine,
Cleanse this sin stained soul of mine.
Till at last Thou wilt receive me,
Nevermore by sin to grieve Thee.
Paul Gerhardt (C).
123. Welt, ade! ich bin dein mude
i. World, farewell! of thee I'm weary, (27, 158)
I will seek the things above.
There forget my wanderings dreary.
In the realm of peace and love.
War and strife we find in thee,
World, thou hast but vanity ;
While in Heaven abide alway
Gladness, joy, eternal day.
Johann Georg Albinus (A).
36—2
564 appendix ii
124. Wenn einer alle Ding verstund
viii. Thou art Thyself, O Jesu dear, {77)
Of purest love the purest ray.
Give me but strength to persevere
And follow Thee now and alway ;
That I in word and thought and deed
May love and succour all in need,
Therein Thy Word fulfilling.
.? David Denicke (D).
125. Wenn mein Stundlein vorhanden ist
iv. Since Thou didst leave the grave again, (15, 95)
It cannot be my dwelling ;
Thou art in heaven — this soothes my pain.
All fear of death dispelling ;
For Thou wilt have me where Thou art,
And so with joy I can depart
To be with Thee for ever.
V. To Thee I now stretch out mine arms, (31)
And gladly hence betake me ;
I sleep at peace from all alarms.
No human voice can wake me.
But Christ is with me through the strife.
And He will bear me into life.
And open heaven before me.
Nicolaus Herman (B, no. 193).
126. Wer nur den lieben Gott LASST WALTEN
i. If thou but sufferest God to guide thee, (93)
And hopest in Him all thy days,
He'll give thee strength whate'er betide thee.
And keep thy feet in all thy ways.
Who trusts in God's unchanging love
Hath stronghold that shall ne'er remove.
APPENDIX II 56s
ii. What can these anxious cares avail thee? (93)
What serve these ceaseless moans and sighs?
What can it help, if thou bewail thee ?
With groaning from thy sleep arise?
The heavier grow our grief and pain
Through craven fears and lamentation.
We find our soul's salvation
When we our cross in patience and in faith sustain',
ii. Of what avail our bitter sorrow? (21)
Of what avail our pain and grief?
Of what avail that each new morrow
Still finds our woe beyond relief?
The weight of every cross and care
We make but greater by despair,
iii. Only be still, wait thou His leisure, (93)
Take up the cross His wisdom sends.
Trust thou in God and His good pleasure,
As with a shield His love defends.
God, Who His chosen children knows,
God, from Whose life our being flows.
He will at last our sorrow lighten,
Will with glad hope our darkness brighten',
iv. Due time for joy He knoweth truly, (93)
It shall come when He sees it meet ;
When He hath tried and purged us throughly.
And finds us free from all deceit.
Then comes God to us unaware,
And makes us own His love and care,
v. Think not amid the hour of trial (21, 93)
That God hath cast thee off unheard ;
That he whose hopes meet no denial
Must surely be of God preferred.
Time passes and much change doth bring,
Time sets a bound to everything.
1 This is a translation of the Bach-Picander text and not of
Neumark's stanza.
566 APPENDIX II
vi. I have waited for the Lord, (93)
Ever trusting in His word.
He by His mighty arm alone
Thrusts the rich from high estate,
And the humble makes He great —
In all the world His will is done'.
vii. Sing, pray, and keep His ways unswerving.
So do thine own part faithfully ; (88, 93, 197)
And trust His word, though undeserving.
Thou yet shalt find it true for thee.
God never yet forsook at need
The soul that trusted Him indeed.
Georg Neumark (A).
127. WER WEISS, WIE NAHE MIR MEIN ENDE
i. O teach me. Lord, my days to number, (27, 166)
For Time flies fast, and Death draws near.
How swiftly comes that last dread slumber,
How nigh that hour of mortal fear !
My God, for Jesu's sake I pray
Thy peace may bless my dying day.
(A.)
xii. And thus I live in God at peace, (84)
And die without a thought of fear,
Content to take what God decrees,
For through His Son my faith is clear.
His grace shall be in death my stay,
And peace shall bless my dying day.
Emilie Juliane Countess of Schwarzburg-
Rudolstadt (B, no. 187).
' This is a translation of the Bach-Picander text and not of
Neumark's stanza.
appendix ii 567
128. Werde munter, mein Gemuthe
vi. Have I e'er from Thee departed, (55)
Now I seek Thy face again,
And Thy Son, the loving-hearted,
Made our peace through bitter pain.
Yes, far greater than our sin.
Though it still be strong within,
Is the Love that fails us never,
Mercy that endures for ever.
Johann Rist (B, no. 167).
129. WiE SCHON LEUCHTET DER MORGEN STERN
i. How brightly shines yon Star of Mom, (i)
Of God's great love and wisdom born.
From Jesse's root ascending.
Hail, David's Son, of Jacob's line !
My King and Bridegroom all divine !
Thy reign is never ending !
Gracious, lovely.
Priceless treasure, passing measure !
Rich in blessing !
Every perfect gift possessing !
vii. My chosen Spouse is Christ the Lord, (1,49,61)
The First, and Last, Eternal Word,
From God the Father springing.
He will me take, I know full well,
With Him in Paradise to dwell.
Rejoice, my soul, with singing.
Amen ! Amen !
Haste Thou, then, my joy, my glory.
Soon to meet me !
All my soul doth long to greet Thee !
(A.)
S68 APPENDIX II
iv. But if Thou look on me in love, (172)
There straightway falls from God above
A ray of purest pleasure ;
Thy word and Spirit, flesh and blood.
Refresh my soul with heavenly food.
Thou art my hidden treasure ;
Let Thy grace. Lord,
Warm and cheer me. O draw near me ;
Thou hast taught us
Thee to seek since Thou hast sought us !
(B, no. I49-)
V. O God, the Champion of our race, (37)
Who from the world's remotest trace
Through Thy dear Son hast bought me !
Jesus hath given me His dear heart,
I am of Him so close a part,
From Heaven He came and sought me.
Eya ! Eya !
O the wonder ! heaven yonder
Calls me to Him,
Evermore to praise and love Him.
(D.)
vi. Awake the sound of harp and string, (36)
And tuneful hymns of gladness sing.
Pure hearts with voices blending :
But let me sit at Jesu's feet.
My heavenly Bridegroom, passing sweet.
In joyaunce never-ending :
Meetly, featly,
Sing Cantate, Jubilate :
Spread the story ;
Great is Christ, the King of glory.
Philipp Nicolai (H, no. 329 A).
APPENDIX II 569
130. WiR Christenleut'
iii. Sin brings us grief, (40)
Christ brings relief,
Since He came down to give us consolation.
God's on our side
When ills betide.
Then who shall rob the Christian of salvation?
(C.)
V. Yes, let us praise (no, 142)
Our God and raise
Loud hallelujahs to the skies above us.
The bliss bestowed
To-day by God
To ceaseless thankfulness and joy should move us.
Caspar Fuger (B, no. 34).
131. Wo GOTT DER HERR NIGHT BEI UNS HALT
i. If God were not upon our side (178)
When foes around us rage,
Were not Himself our Help and Guide
When bitter war they wage.
Were He not Israel's mighty Shield
To whom their utmost crafts must yield.
We surely must have perished.
ii. But now no human wit or might (178)
Should make us quail for fear,
God sitteth in the highest height.
And makes their counsels clear ;
When craftiest snares and nets they lay,
God goes to work another way.
And makes a path before us.
570 APPENDIX II
iv. They call us heretics, and lie (178)
In wait to spill our blood ;
Yet flaunt their Christian name on high,
And boast they worship God.
Ah God ! that precious name of Thine
O'er many a wicked deed must shine,
But Thou wilt once avenge it.
V. They open wide their ravenous jaws (178)
To swallow us indeed,
But thanks to God who rules our cause.
They shall not yet succeed :
Their snares He yet will bring to nought,
And overthrow what they have taught,
God is too mighty for them.
vii. Our foes, O God, are in Thy hand, (178)
Thou knowest every plot ;
But only give us strength to stand.
And let us waver not.
Though Reason strive with Faith, and still
She fear to wholly trust Thy will,
And sees not Thy salvation.
viii. But heaven and earth, O Lord, are Thine, (178)
By Thee alone were made.
Then let Thy light upon us shine,
O Thou our only aid !
Kindle our hearts to love and faith
That shall be steadfast e'en to death,
Howe'er the world may murmur !
Justus Jonas (K, p. 117).
APPENDIX II 57 1
132. Wo SOLL ICH FLIEHEN HIN
i. O whither shall I fly? (5)
To Thee, O Lord, I cry.
My heavy sins dismay me,
Whence cometh help to stay me?
Jesus my soul descrieth
And on Him firm relieth.
iii. A heavy load of sin (199)
To Thee, piy Lord, I bring ;
Whate'er the tasks that daunt me,
The fear and doubts that haunt me.
From out Thy side love floweth
And saving grace bestoweth.
vii. How poor's my life indeed ! (89)
How urgent is my need !
And yet how rich in blessing
Through Jesu's love possessing !
Death vanquished, sin enchaindd.
Hell and proud Satan tam^d.
ix. Thy Blood's most precious flow (136)
With might availeth so,
One drop from out Thy pierc'd side
Can throughly cleanse the world wide.
From Satan's jaws can snatch us,
And to Thyself can match us.
xi. O guide my heart and will, (5, 148, 163)
Firm strength in me instil.
From all my sins deliver
Which me from Thee still sever ;
Until, from evil parted.
In Thee I be engrafted.
Johann Heermann (D).
572 APPENDIX II
133. WOHL DEM, DER SICH AUF SEINEN GOTT
i. How happy he who on His God (139)
Can place his full reliance !
He to the world and Hell's dark brood
May boldly bid defiance.
How great content he may command
Who on God's friendship takes his stand.
V. Of what avail the hosts of Hell? (139)
Death can no farther fright me.
The world no longer weaves a spell,
Its vain things ne'er delight me.
God is my help, I clasp His hand,
On His firm friendship do I stand.
Johann Christoph Rube (D).
134. Zeuch ein zu deinen Thoren
V. O teach our hearts, Spirit divine, (183)
How rightly we should pray,
That our prayers may prevail, as Thine,
Our songs arise alway.
And mount to Heaven's throne,
To where the Father reigneth.
With Whom true prayer availeth ;
On Him we trust alone.
Paul Gerhardt (D).
135. ZiON KLAGT MIT ANGST UND SCHMERZEN
ii. God Himself hath given His promise (13)
Our strong helper e'er to be.
Thence my soul doth find assurance.
Doubt and sadness from me flee.
Will He then His grace withhold?
In just anger will He scold?
Sure He will have mercy on us,
He Who died that He might win us.
Johann Heermann (D).
APPENDIX III
The Original Texts of Bach's Oratorios,
" Passions," Masses, Cantatas, and Motetts
Excepting the tunes that he wrote for Schemelli's
Hymn book, and the parts of Cantata 71 (Miihl-
hausen, 1708), not a note of Bach's concerted Church
music was printed until after his death. The pub-
lication of Forkel's biography in 1802 excited a
slowly rising tide of interest. In 1803 Breitkopf
& Haertel published Motetts i, 2, 3, 4, 5. In 181 1
Simrock, of Bonn, published (in E flat ma.) the
Magnificat, and in 18 18 the Mass in A major. In
1 830 the Score of the " St Matthew Passion " was
published by Schlesinger. Trautwein brought out
the " St John Passion " in 1831. In 1833 Nageli, of
Ziirich, issued the " Kyrie '' and " Gloria " of the
B minor Mass, and Simrock printed the remainder
of the work in 1845. The first Cantata to be
published was " Ein' feste Burg," No. 80, printed
by Breitkopf & Haertel in 1821. In 1830 Simrock
issued six more : " Nimm von uns, Herr," No. loi ;
" Herr, deine Augen sehen nach dem Glauben,"
No. 102 ; " Ihr werdet weinen und heulen," No. 103 ;
574 APPENDIX III
" Du Hirte Israel, hore," No. 104 ; " Herr, gehe nicht
in's Gericht," No. 105 ; and "Gottes Zeit ist die
allerbeste Zeit," No. 106. In 1843 Trautwein
published four more : " Nimm, was dein ist, und
gehe hin," No. 144; '' Himmelskonig, sei willkom-
men," No. 182; " Barmherziges Herze der ewigen
Liebe," No. 185 ; and " Siehe zu, dass deine Gottes-
furcht,".No. 179. Finally, in 1847, Breitkopf &
Haertel issued "Warum betriibst du dich," No. 138;
"Wachet auf, ruft uns die Stimme," No. 140 ; and
"Also hat Gott die Welt geliebt," No. 68, as a
supplement to Winterfeldt's " Evangelischer Kirch-
engesang," Bd. HI. Thus, no more than fourteen
Cantatas were in print when the systematic pub-
lication of Bach's works began on the foundation
of the Bachgesellschaft in July 1850, the cen-
tenary of Bach's death. The present note reveals
the sources whence, in the half century of its exist-
ence, 1850-1900, Bach's Scores were published'.
In the following list A stands for the Library
of St Thomas' School, Leipzig ; B for the Royal
Library, Berlin ; C for the Princess Amalie Library
(Amalienbibliothek) in the Joachimsthal Gymna-
sium, Berlin ; D for the collection of Bachiana in
the possession of Herr Kammersinger Joseph
Hauser, Carlsruhe, and, before him, of Franz
' The parts of Cantata 7 1 were printed for local use at Muhlhausen
in 1708. On the whole subject see Schweitzer, chap. xii.
APPENDIX III 575
Hauser (1794- 1870), the friend of Mendelssohn
and one of the earliest Bach collectors. The italic
letters p and s stand respectively for the Autograph
Parts and Autograph Score of the works. In the
case of private owners a date in brackets indicates
the year when the MS. was in their possession.
THE ORATORIOS, "PASSIONS," MASSES, &C.
" St Matthew Passion." B / j.
" St John Passion." '& p s.
" Christmas Oratorio." B p s.
" Easter Oratorio." B p s.
"Magnificat." B j.
B minor Mass. The Parts of the " Kyrie " and "Gloria'' are
in the King of Saxony's Privat-Bibliothek, Dresden ; the
Score and Parts of the "Sanctus" are in B. For the rest
of the work early copies by Kirnberger and others, and
the Score and Parts of Cantatas in which certain numbers
of the Mass are found, have been utilised to present a
complete text of the work.
Mass in F major. An early copy of the Score in the hand-
writing of Bach's son-in-law, Altnikol, is in B.
Mass in A major. Breitkopf & Haertel. / s.
Mass in G minor. Two copies of the Score, one in Altnikol's
hand, are in B.
Mass in G major. Breitkopf & Haertel. s.
" Sanctus " in C. B p s.
" Sanctus " in D. B p s.
" Sanctus " in D minor. B s.
"Sanctus" in G major. B s.
576 APPENDIX III
THE CANTATAS
Ach Gott, vom Himmel sieh darein. No. 2. Professor Ernst
Rudorff, Berlin, s [c. 1850]. A P-
Ach Gott, wie manches Herzeleid. No. 3. D j. A /.
Ach Gott, wie manches Herzeleid. No. 58. T) s. K p.
Ach Herr, mich armen Siinder. No. 135. Fraulein Mari-
anne Karthaus, Zschepen [188 1]. s.
Ach, ich sehe, jetzt da ich zur Hochzeit gehe. No. 162. B p.
Copy Score U.
Ach, lieben Christen, seid getrost. No. 114. A/. Professor
Ernst Rudorff, Berlin, s [1876].
Ach, wie flUchtig. No. 26. B j. K p.
Argre dich, O Seek, nicht. No. 186. B s.
AUein zu dir, Herr Jesu Christ. No. 33. A /. Pastor
Schubring, Dessau, s [1857].
AUes nur nach Gottes Willen. No. 72. 'S, p s.
Also hat Gott die Welt geliebt. No. 68. A p.
Am Abend aber desselbigen Sabbaths. No. 42. V, p s.
AufChristi Himmelfahrtallein. No. 128. Hof-Capellmeister
Robert Radecke, Berlin. ^[1878]. D/.
Aus der Tiefe rufe ich, Herr, zu dir. No. 131. Wilhelm
Rust. J [1881].
Aus tiefer Noth schrei ich zu dir. No. 38. A p. Copy Score
by C. P. E. Bach and J. F. Agricola in C.
Barmherziges Herze der ewigen Liebe. No. 185. B / s.
Bereitet die Wege, bereitet die Bahn. No. 132. B/ (incom-
plete) s.
Bisher habt ihr nichts gebeten in meinem Namen. No. 87.
B/ J.
Bleib' bei uns, denn es will Abend werden. No. 6. B^and
copy of the Score.
Brich dem Hungrigen dein Brod. No. 39. '& p s.
Bringet dem Herm Ehre seines Namens. No. 148. No ori-
ginals. Copy {c. 1754) of the Score in B.
APPENDIX III 577
Christ lag in Todesbanden. No. 4. A p.
Christ unser Herr zum Jordan kam. No. 7. A /.
Christen, atzet diesen Tag. No. 63. B p.
Christum wir soUen loben schon. No. 121. h p. Us.
Christus, der ist mein Leben. No. 95. B p.
Das ist je gewisslich wahr. No. 141. No originals. Copy
Score B.
Das neugebor'ne Kindelein. No. 122. A /. D j.
Dazu ist erschienen der Sohn Gottes. No. 40. B / j.
Dem Gerechten muss das Licht. No. 195. B / j.
Denn du wirst meine Seele nicht in der Holle lassen.
No. 15. '& p s.
Der Friede sei mit dir. No. 158. No originals. Copy
{c. 1754) Score D.
Der Herr denket an uns. No. 196. No orig[inals. Copy
Score C.
Der Herr ist mein getreuer Hirt. No. 112. A /. Frau
Hoffmeister. J [1876].
Der Himmel lacht, die Erde jubiliret. No. 31. B ^.
Die Elenden soUen essen. No. 75. B s.
Die Himmel erzahlen die Ehre Gottes. No. 76. B / j.
Du Friedefiirst, Herr Jesu Christ. No. 116. A/. Professor
Ernst Rudorff. s [1876].
Du Hirte Israel, hore. No. 104. B /.
Du sollst Gott, deinen Herren, lieben. No. Tj. B j.
Du wahrer Gott und Davids Sohn. No. 23. B / j.
Ehre sei Gott in der Hohe. No. U i. Professor J. Epstein,
Vienna, j [1894].
Ein Herz, das seinen Jesum lebend weiss. No. 134. B /.
Herr W. Kraukling, Dresden, j [iSSi].
Ein ungefarbt Gemiithe. No. 24. B / j.
Ein' feste Burg ist unser Gott. No. 80. No originals.
Copies of the Score in the handwriting of Bach's pupils
Altnikol and Kirnberger B and C.
Er rufet seinen Schafen mit Namen. No. 175. B / j.
T. B. C. 37
578 APPENDIX III
Erforsche mich, Gott, und erfahre mein Herz. No. 136. B/.
Erfreut euch, ihr Herzen. No. 66. B s.
Erfreute Zeit im neiien Bunde. No. 83. B /.
Erhalt' uns, Herr, bei deinem Wort. No. 126. A p.- Copy
of the Score D.
Erhohtes Fleisch und Blut. No. 173. B s.
Erschallet, ihr Lieder. No. 172. B / and copy Score.
Erwunschtes Freudenlicht. No. 184. B / j.
Es erhub sich ein Strait. No. 19. B p s.
Es ist das Heil uns kommen her. No. 9. A p.
Es ist dir gesagt, Mensch, was gut ist. No. 45. B p s.
Es ist ein trotzig uns verzagt Ding. No. 176. B j.
Es ist euch gut, dass ich hingehe. No. io8. B p s.
Es ist nichts Gesundes an meinem Leibe. No. 25. B p.
Es reifet euch ein schreckUch Ende. No. go. B j.
Es wartet AUes auf dich. No. 187. B s and / (vocal).
Professor Ernst Rudorff. p (instrumental) [1891].
Falsche Welt, dir trau ich nicht. No. 52. B p s.
Freue dich, erloste Schaar. No. 30. B p s.
Gedenke, Herr, wie es uns gehet. No. D i. Copy Score C.
Geist und Seele wird verwirret. No. 35. B p s.
Gelobet sei der Herr. No. 129. A /. Copy of Score D.
Gelobet seist du, Jesu Christ. No. 91. A p. Kimberger's
copy of the Score C.
Gleich wie der Regen und Schnee. No. 18. B p.
Gloria in excelsis Deo. No. 191. D s.
Gott, der Herr, ist Sonn' und Schild. No. 79. B p s.
Gott der Hoffnung erfiille euch. No. D 2. Copies of
Score B C.
Gott fahret auf mit Jauchzen. No. 43. B p s.
Gott ist mein Konig. No. 71. B p s.
Gott ist uns're Zuversicht. No. 197. B j.
Gott, man lobet dich in der Stille. No. 120. D s.
Gott soil allein mein Herze haben. No. 169. B p s.
APPENDIX til 579
Gott, wie dfein Name, so ist auch dein Ruhm. No. 171.
Herr Max Jahh, Berlin, s [t888].
Gottes Zeit ist die alletbeste Zfeit. No. 106. No originals.
Copy Score D.
Gottlob ! nun geht das Jahr zu Ende. No. 28. B p s.
Halt' im Gedachtniss Jesum Christ. No. 67. B p s.
Herr Christ, der ein'ge Gottes-Sohn. No. 96. A p. B s.
Herr, deine Augen sehen nach dem Glayben. No. 102.
B ps.
Herr, gehe nicht in's Gericht. No. 105. B s.
Herr Gott, Beherrscher aller Dinge. No. U 3. B /.
Herr Gott, dich loben alle wir. No. 130. Professor Woldemar
Bargiel, Berlin. ^[1878]. Mr Locker, London, Soprano
and Alto vocal parts [1878].
Herr Gott dich loben wir. No. 16. B p s.
Herr Jesu Christ, du hochstes Gut. No. 113. Professor
Ernst RudorfF, Berlin, j [1876].
Herr Jesu Christ, wahr'rMenschund Gott. No. 127. Ap. D s.
Herr, wie du willt, so Schick's mit mir. No. 73. B p.
Herz und Muild und That und Leben. No. 147. B j.
Himmelskonig, sei willkommen. No. 182. B p s.
Hochsterwiinschtes Freudenfest. No. 194. B s.
Ich armer Mensch, ich Siindenknecht. No. 55. B p s.
Ich bin ein guter Hirt. No. 85. B p s.
Ich bin vergnijgt mit meinem Gliicke. No. 84. B p s.
Ich elender Mensch, wer wird mich erlosen. No. 48. B p s.
Ich freue mich in dir. No. 133. A and Dp. Herr Ernst
Mendelssohn, j [1881].
Ich geh' und suche mit Verlangen. No. 49. B p s.
Ich glaube, lieber Herr. No. 109. B p s.
Ich habe geftug. No. 82. B / s.
Ich hab' in Gottes Hetz und Sinn. No. 92. A p.
Ich habe meine Zuversicht. No. 188. No originals. Copy
of the Score in the Fischhof Sammlung B.
Ich hatte viel Bekiimmerniss. No. 21. B /.
37—2
S8o APPENDIX III
Ich lasse dich nicht, du segnest mich denn. No. 157. No
originals. Copy Score {c. 1754) D.
Ich liebe den Hochsten von ganzem Gemiithe. No. 174.
B / (incomplete) s.
Ich ruf zu dir, Herr Jesu Christ. No. 177. A /. B J.
Ich steh' mit einem Fuss im Grabe. No. 156. A/.
Ich weiss, dass mein "Erioser lebt. No. 160. No originals.
Eariy copy of the Score, Wilhelm Rust.
Ich will den Kreuzstab gerne tragen. No. 56. B / j.
Ihr, die ihr euch von Christo nennet. No. 164. B / j.
Ihr Menschen, riihmet Gottes Liebe. No. 167. B / and
Kirnberger's copy of Score.
Ihr Pforten zu Zion. No. 193. B p (incomplete).
Ihr werdet weinen und heulen. No. 103. B / J.
In alien meinen Thaten. No. 97. B/. Mr Locker, London
s [1875].
Jauchzet Gott in alien Landen. No. 51. B / j.
Jesu, der du meine Seele. No. 78. A p.
Jesu, nun sei gepreiset. No. 41. k. p. D j.
Jesus nahm zu sich die Zwolfe. No. 22. B s.
Jesus schlaft, was soil ich hoffen? No. 81. B / .f .
Komm, du siisse Todesstunde. No. 161. No originals.
Three copies of Score B.
Leichtgesinnte Flattergeister. No. 181. B p and copy j.
Liebster Gott, wann werd' ich sterben ? No. 8. K p and
copy s.
Liebster Immanuel,Herzog der Frommen. No. 123. h.p. Vts.
Liebster Jesu, mein Verlangen. No. 32. B / j.
Lobe den Herren, den machtigen Konig der Ehren. No. 137.
A/.
Lobe den Herrn, meine Seele. No. 69. B /.
Lobe den Herrij^' meine Seele. No. 143. No originals.
Copy Score B.
Lpbet Gott in seinen Reichen. No. 11. '?> p s.
Lobt ihn mit Herz und Munde, No. D 4. Copies Score B C.
APPENDIX III S8l
Mache dich, mein Geist, bereit. No. 115. Professor Ernst
Rudorff. J [1876].
Man singet mit Freuden vorn Sieg. No. 149. No originals*
Copy Score dated 1756, D.
Mein Gott, wie lang', ach lange. No. 155. B j.
Mein Herze schwimmt im Blut. No. 199. Score in Royal
Library, Copenhagen.
Mein liebster Jesus ist verloren. No. 154. B / and s (in-
complete).
Meine Seel' erhebt den Herren. No. 10. Professor Ernst
Rudorff. s.
Meine Seele riihmt und preist. No. 189. No originals.
Copy Score (Fischhof Sammlung) B.
Meine Seufzer, meine Thranen. No. 13. B /) j.
Meinen Jesum lass' ich nicht. No. 124. A /. D s.
Mit Fried' und Freud' ich fahr' dahin. No. 125, A p.
Copy Score D.
Nach dir, Herr, verlanget mich. No. 150. No originals.
Copy Score dated 1753, D.
Nimm von uns, Herr, du treuer Gott. No. loi. A/. Copy
Score (perhaps in C. P. E. Bach's hand) C.
Nimm, was dein ist, und gehe hin. No. 144. B s.
Nun danket alle Gott. No. 192. B p.
Nun ist das Heil und die Kraft. No. 50. No originals.
Copies in B.
Nun komm, der Heiden Heiland. No. 61. B j.
Nun komm, der Heiden Heiland. No. 62. A p.
Nur Jedem das Seine. No. 163. B s.
O ewiges Feuer, O Ursprung der Liebe. No. 34. B p. C s.
O ewiges Feuer, O Ursprung der Liebe. No. U 2. Bp.
O Ewigkeit, du Donnerwort. No. 20. A /. Professor
Ernst Rudorff. s.
O Ewigkeit, du Donnerwort. No. 60. B p.
O heil'ges Geist- und Wasserbad. No. 165. No originals.
Copy Score C.
58a APPENDIX III
O Jesu Christ, mein's Lebens Licht. No. ii8, Breitkopf
& Haertel. j.
Preise, Jerusalem, den Herrn. No. 119. D s.
Schau', lieber Gott, wie meine Feind'. No. 153. B p.
Schauet doch und sehet. No. 46. B p.
Schlage doch, gewunschte Stunde. No. 53. No originals.
Copies C.
Scbmiicke dich, O liebe Seele. No. 180. Mme Pauline
Viardot-Garcia, Paris, j [1888]. Formerly in Felix
Mendelssohn's possession.
Schwingt freudig euch empor. No. 36. B / j.
Sehet, welch' eine Liebe. No. 64. B p. Copy Score C.
Sehet, wir geh'n hinauf gen Jerusalem. No. 159. No
originals. Copy Score (c. 1754) D.
Sei Lob und Ehr'. No. 117. Breitkopf & Haertel. s.
Selig ist der Mann. No. 57. B p s.
Sie werden aus Saba AUe kommen. No. 65. B s.
Sie werden euch in den Bann thun. No- 44. B p s.
Sie werden euch in den Bapji thut^. No. 183. B p s.
Siehe, es ha,t uberijvunden der Lowe. No. D 3. Copy Score B.
Siehe, ich will viel Fischer ausSenden. No. 88. B p s.
Siehe zu, (Jass di&ine Gottesfurght. No. 179. Br and p
(incomplete).
Singet dem He^'rn ein neues Lied. No. 190. B s (in-
complete) and p (incomplete).
So du mit deitiem Munde bekennest Jesum. Na 145. No
originals. Copy Score (1816) B.
SUsser Trost, mein Jesus kommt. No. 151. B p.
Thue Rechnung ! Donnerwort. No. 168. B p s.
Trauerode. No. 198. B j.
Tritt auf die Glaubensbahn. No. 152. B s.
Uns ist ein Kind geboren. No. 142. No originals. Copy
Score B.
Unser Mund sei yoU Lachens. No. no. B p s.
Vergnijgte Ruh', beliebte Seelenlust. No. 170. B p s.
APPENDIX III 583
Wachet auf, ruft uns die Stimme. No. 140. A p.
Wachet, betet, betet, wachet. No. 70. B p.
War" Gott nicht mit uns diese Zeit. No. 14. D / j.
Wahrlich, wahrlich, ich sage euch. No. 86. B s.
Waruin betriibst du dich, main Herz. No. 138. B s.
Was frag ich nach der Welt. No. 94. K p. B j.
Was Gott thut, das ist wohlgethan. No. 98. '& p s.
Was Gott thut, das ist wohlgethan. No. 99. A ^. B j.
Was Gott thut, das ist wohlgethan. No. 100. B / j.
Was mein Gott will, das g'scheh' allzeit. No. m. V) p s.
Was soil ich aus dir machen, Ephraim ? No. 89. B p.
Was willst du dich betriiben. No. 107. A p.
Weinen, Klagen, Sorgen, Zagen. No. 12. B / j.
Wer da glaubet und getauft wird. No. 37. B p.
Wer Dank opfert, der preiset mich. No. 17. B / j.
Wer mich liebet, der wird mein Wort halten. No. 59. '& p s.
Wer mich liebet, der wird mein Wort halten. No. 74. B p.
Wer nur den lieben Gott lasst walten. No. 93. A p.
Wer sich selbst erhohet. No. 47. '?> p s.
Wer weiss, wie nahe mir mein Ende. No. 27. B / j.
Widerstehe doch der Sunde. No. 54. No originals. Copy
Score D.
Wie schon leuchtet der Morgenstern. No. i. h. p.
Wir danken dir, Gott. No. 29. "S, p s.
Wir miissen durch viel Triibsal in das Reich Gottes eingehen.
No. 146. No originals. Copy Score {c. 1760) B.
Wo gehest du hin? No. 166. B p and copy (Fischhof)
Score.
Wo Gott der Herr nicht bei uns halt. No. 178. A p.
Forkel's copy Score B.
Wo soil ich fliehen hin. No. 5. A p. Professor Ernst
Rudorff. s.
Wohl dem, der sich auf seinen Gott. No. 139. A p.
Drei Chorale zu Trauungen. "S, p s.
584 APPENDIX III
THE MOTETTS
The only original MSS. extant are the following':
Der Geist hilft unsrer Schwachheit auf. No. 2. B s.
Singet dem Herrn ein neues Lied. No. i. B s.
' "Lobet den Herrn," No. 6, was published in 1821 "nach
J. S. Bach's Original-handschrift." The other five Motetts were
published in 1803.
INDEX
OF FIRST LINES, MELODIES, AUTHORS,
COMPOSERS, SOURCES
Note. The titles of the Cantatas and Motetts are printed
in capitals. Plain numbers stand for the Cantatas ; a
prefixed M indicates the Motetts ; a prefixed U, the
unfinished Cantatas ; a prefixed D, the Cantatas of
doubtful authenticity. Biographical details will be found
at the first entry after an author's name. A * prefixed
to an author's name indicates that biographical details
will be found in Part I of this work. Entries in italic
indicate the first line of a Hymn or stanza.
A solis ortus cardine, melody, 121
A STRONGHOLD SURE, 80
A STRONGHOLD SURE IS GOD OUR LORD, 80
Ach bleif bei uns, Herr Jesu Christ, st. i, 6 ; st. ii, 6 ;
trans., App. 11 (i) ; melody, 6
Ach, doss nicht die letzte Stunde, melody, Introd. p. 74
Ach Gott und Herr, st. iv, 48 ; trans., App. 11 (2) ;
melody, 48
Ach Gott, vom Himmel sieh darein, 2
Ach Gott, vom Himmel sieK darein, st. i, 2 ; st. vi, 2 ;
trans., App. 11 (3); melody, 2, 77, 153
Ach Gott, wie manches Herzelkid, 3, 58
Ach Gott, wie manches Herzeleid, st. i, 3, 44, 58 ; st. ii, 3 ;
St. xi, I S3 ; St. xii, 3, 153 ; trans., App. ll (4) ; melody,
3, 44, 58, 118, 153
Ach! Herr Gott, durch die Treue dein, loi
Ach Herr, lass deiri lielf Engelein, 149
Ach Herr, mein Geist, vergieb mil's doch, 113
Ach Herr, mich armen Sunder, 135
Ach Herr, mich arm.en Siinder, st. i, 135 ; st. vi, 135 ;
trans., App. 11 (5) ; melody, 25
S86 INDEX
Ach Herr, vergieb alP unsre Schuld, 127
Ach, ich habe schon erblicket, 162
Ach, ich sehe, jetzt da ich zur Hochzeit gehe, 162
Ach, lieben Christen, seid getrost, 114
Ach, lieben Christen, seid getrost, st. i, 114; st. iii, 114;
St. vi, 1 14 ; trans., App. II (6)
Ach wie fluchtig, 26
Ach wie flUchtig, st. i, 26; st. Jiiii,, 26; trans., App. 11 (7) ;
melody, 26
Ach, wie hungert mein Gemiithe, 180
"Actus Tragicus," io6
Argre dich, O Seele, nicht, 186
Agricola, Johannes (1492-1566), 177, 185
Ah God, in mercy look from Heaven, 2
Ahle, Johann Rodolph (1635-73), 60, 123
"Ain schons newes ChristHchs lyed" (1530), 74, 86
Ainsi qu'on oit le cerf bruire, melody, 13, 19, 25, 30, 32,
39. 70. 194
*Alibert, Heinrich (1604-51), 40, App. I (3)
Albinus, Johann Georg (1624-79), 27, 115, 158, 162
*Albrecht, Margrave of Brandenburg-Culmbach (1522-57),
72, HI, 144
AlV solcK dein' Giif "mir preisen, 16, 28
Alle Menschen miissen sterben, st. vii, 162 ; trans., App. 11
(8); melody (1652), 163 ; melody (1715), 162; melody
(1678), Introd. p. 70
Allein auf Christi Himmelfahrt, see Auf Christi, etc.
Allein Gott in der HoK sei Ehr', melody, 85, 104, 112,
128
Allein zu dir, Herr Jesu Christ, 33
Allein. zu dir, Herr Jesu Christ, st. i, 33 ; st. iv, 33;
trans., App. 11 (9) ; melody, 33
Alleluja, Alleluja, Alleluja! 66
Alleluja! Gelt/bt sei Gott! no, 142
"AUer Christen Leib-Stiicke" (Leipzig, 1633), 159
Alles ist an Gottes Segen, melody, Introd. p. 68
Alles nur nach Gottes Willen, 72
Alles was von Gott geboren, Son.
Alsdann so wirst du mich, 128
Also hat Gott die Welt geliebt, 68
Also hat Gott die Welt geliebt, st. i, 68 ; trans., App. 11
(10) ; melody, 68 ; Introd, p. 70
Altenburg, Johann Michael (i 584-1640), 42
Am Abend aber desselbigen Sabbaths, 42
Avien.i zu alter Stund', 148 n.
INDJ>X 587
Ammersbach, Heinrich (1673), 128
" Andacht-erweckende Seelen-Cymbeln " (1672), 78
"Andachtig Singender Christen- Mund" (Wesel, 1692), 139
"Andachtige Hertz- und Seelen-Musica" (Nordhausen,
c. 1635), 42
"Andachtige Versohnung mit Cott" (Niimberg, 1636), laS
" Andachtiger Seelen geistliches Brand- und Gantz-Opfer"
(Leipzig, 1697), M 5
"Apdachts Zytnbeln" (Freiberg, 1655), 48
"Arien oder Melodeyen" (Konigsberg, 1642), App. i (3)
Arnold, Gottfried (1666-1714), 133
"As hymnodus sacer" (Leipzig, 1625), 3, 48
Attaignant, Pierre (1529), 65
Auf, auf, die rechte Zeit ist hier, melody, Introd. p, 75
Auf, auf, mein Herz, und du mein ganzer Sinn, melody,
Introd. p. 68
Auf Christi Himmelfahrt allein, ia8
Auf Christi Himmelfahrt allein, st. i, 128 ; trans., App. 11
(II)
Auf dass wir also alhugleich, 176
Auf, meine Herz ! des Herren Tag, 145
Auf, m£ine Herz! des Herren Tag, st. i, 145; trans.,
App. II (12),
Auf meinen lieben Gott, st. i, 188 ; st. vi, 148 n. ; trans.,
App. II (13) ; melody, 5, 89, 136, 148, 188
Aufer immensam, Deus, aufer iram, 90
Aufspfren sie den Rachen weit, 178
Augsburg "Gesangbuch" (i 530-1), the, 112
AUS DER TIEFE RUFE ICH, HERR, 2U DIR, I3I
Aus tiefer Noth SCHREI ICH zu dir, 38
Aus tiefer Noth schrei ich zu dir, st. i, 38 ; st. v, 38 ; trans.,
App. II (14) ; melody, 38, 156
Avenarius, Matthaus (1625-92), 128
Babst, Valentin (1545), 33
Bach, Johann Sebastian (1685-1750), his Hymn tunes,
Introd. p. 67 ; the melody, " Ich freue mich in dir,"
133; the melody, "Alle Menschen miissen sterben,"
162 ; the melody, '' Komm, Jesu, komm," M 5
Barmherzger Vater, hochster Gott, st. ix, 10,3 ; trans.,
App. II (15)
BARMHERZIGES HERZE DER EWIGEN LlEBE, 1 85
Be NOT AFRAID, M 4
Becker, Cornelius (1561-1604), 85, 104
Befiehl du deine Wege, st. v, 153; trans., App. 11 (i6)
588 INDEX
Behm, Martin (1557-1622), 58, 3, 118
Bereitet die Wege, bereitet die Bahn, 132
Beschrdnkt, ihr Weisen dieser Welt, melody, Introd. p. 76
Beweis' dein Macht, Herr Jesu Christ, 6
Beza, Theodore (1519-1605), 13, 127, 130
Bide with us, 6 •
Bienemann, Caspar (1540-gi), 73, 156
Bin ich gleich von dir gewichen, 55
BiSHER HABT IHR NICHTS GEBETEN IN MEINEM NaMEN,
87
BlEIB' BEl UNS, DENN ES WILL ABEND WERDEN, 6
B letches Antlits, set gegriisset, melody, 40
Blessed Jesu, priceless treasure, 32
Bourgeois, Louis (fl. 1541-61), 13, 19, 25, 30, 32, 39, 70,
127, 130, 194
Brandenburg " Gesang-Buch " (1668), the, 27
BrICH DEM HUNGRIGEN DEIN BROD, 39
BrINGET DEM HERRN EhRE SEINES NAMENS, I48
Burmeister, Franz Joachim (1633 ?-72), 60
*Calvisius, Seth (1556-1615), 6, 52, 85, 106, 127, App. l (i)
"Cantilenae latinae et germanicae" (Wittenberg, 1591), 41
"Cantional, Oder Gesangbuch Augspurgischer Confession"
(Leipzig, 1627), 5, 13, 52
" Cantionale sacrum " (Part II : Gotha, 1648), 46
"Chansons du xv° siMe" (Paris, 1875), 130 n.
Christ ist erstanden, 4, st. iii, 66 ; trans., App. 11 (17) ;
melody, 66
Christ lag in Todesbanden, 4
Christ lag in Todesbanden, st. i-vii, 4; st. v, 158; trans.,
App. II (18) ; melody, 4, 158
Christ lay fast bound in Death's harsh chain, 4
Christ lay in Death's dark prison, 4
Christ unser Herr zum Jordan kam, 7
Christ unser Herr zum Jordan kam, st. i, 7 ; st. vii, 7 ;
trans., App. 11 (19) ; melody, 7, 69, 176
Christe, du Lamm Gottes, 23 ; trans., App. 11 (20) ; melody,
23, 127
"Christlich- neuvermehrt und gebessertes Gesangbuch"
(Erfurt, 1663), 78
"Christliche Bet-Schule" (Leipzig, 1665), 129
"Christliche Gebet" (1610), 58
"Christliche Kirchen-Ord^iung" (Erfurt, 1542), App. i (5)
"Christliche Psalmen, Lieder, und Kirchengesenge" (Leip-
zig, 1587), 79
INDEX 589
"Christliche und Trostliche Tischgesenge " (Erfurt, 1572
, [fS7i]), II, 65
' Christlichen Frauen-Zimmers geistliche Tugend-Spiegel"
(Leipzig, 167s), 68
" Christliches Gedenclibvichlein, zu Beforderung eines an-
fangenden neuen Lebens" (Frankfort a. Main, 1675),
117
Christum wir sollen loben schon, 121
Chtisium wir sollen loben schon, st. i, 121 ; st. viii, 121 ;
trans., App. II (21); melody, 121
CHRISTUS, DER 1ST MEIN LeBEN, 95
Christus, der ist mein Leben, st. i, 95 ; trans., App. II
(22) ; melody, 95
Christus, der uns selig macht, melody, App. I (r)
Clauder, Joseph (1630), 3
Come, Jesu, come, M 5
Come, Redeemer of our race, 61
Come rejoice, ye faithful, 30
Come, Thou blessed Saviour, come, 61
Comu, see Roh, Johann
Crespin, Jean (1551), 13
Cruciger, Caspar (1524), 22
Cruciger, Elisabethe (d. 1535), 22, 96, 132, 164
*CriJger, Johann (1598-1662), 11, 20, 26, 40, 56, 60, 64, 65,
67. 74, 78, 79, 81, 87, 103, 139, 145, 159, 162, 176, 180,
183, 192, 194, 195, M 3, M 4, App. I (4)
Da Christus geboren war, melody, 187
Da der Herr Christ zu Tische sass, melody, Introd.
p. 70
Da pacem, Domine, 6
Dahero Trotz der Hollen Heer, 139
Dank sei Gott in der Hohe, melody, Introd. p. 69
Danket dem Herrn, heut' und allzeit, melody, 6
Daphnis ging fiir wenig Tagen, melody, 78
Darmstadt "Cantional" (1687), the, 162; "Gesang-Buch"
(1698), 45, 123
Darum wir billig loben dich, 130
Das Aug" allein das Wasser sieht, 7
"Das christlich Kinderlied D. Martini Lutheri" (Witten-
berg, 1566), 42
" Das grosse Cantional " (Darmstadt, 1687), 162
Das hat er A lies uns gethan, 64, 91
Das ist des Vaters Wille, 73
Das macht Christus, wahr'r Gottes Sohn, 125
S90 INDEX
Das neugebor'ne Kindelein, 122
Das neugebor'ne Kindelein, st. i, 122; st. iii, 122; st. iv,
122; trans., App. II (23); melody, 122
Das wait Gott Vater und Gott Sohn, melody, Introd. p. 69
Das wait Mein Gott, Gott Vater, Sohn, melody, Introd. p. 78
Das wollst du, Gott, bewahren rein, 2
Das Wort sie sollen lassen stahn, 80
DaZU 1ST ERSCHIENEN DER SOHN GOTTES, 40
*Decius, Nicolaus (d. 1541), 85, 104, 112, 128; App. i (;)
Dein Blut, der edU Soft, 136
Dein Geist, den Gott vom Himmel giebt, 108
Dein ist allein die Ehre, 41, 171
Deine Hiilfe zu mir sende, 194
DEM GERECHTEN MlfSS DAS LiCHT, 195
Dem wir das Heilig itzt, 129
Demantius, Christopher (1620), 13, 19, 48, 135
Den Glauben mir verlei/ie, yj
Den Herren meine SeeP erhebt, melody, 74
Den Himmel und aUch die Erden, 178
Den Tod Niemand zwingen kunnt, 4
Denicke, David (1603-80), 39, 77, 107, 153, D 3
DenM nicht in deiner Drangsalshitze, 21, 93
Denn du wirst meine Seele nicht in der Holle
lassen, is
"Der Bussfertige Sunder" (NUrnberg, 1679), 163
Der du bist dem Vater gleich, 36
Der Friede sei mit dir, 158
Der Geist hilft unsrer Schwachheit auf, M 2
Der Gott, der mir hat versprochen, 13
Der Herr 1ST mein getreuer Hirt, 112
Der Herr ist m.eiii getreuer Hirt (Becker), st. i, 85, 104 ;
trans., App. 11 {24)
Der Herr ist m^in getreuer Hirt (Meusel), st. i, 112 ;
St. V, 112; trans., App. 11 (25)
Der Himmel lacht, die Erde jubiliret, 31
Der Leib zwar in der Erden, 161
"Der Psalter Dauids Gesangweis'' (Leipzig, 1602), 85
Der zeitlichen Ehr' will ich gem entbehr'n, 47
" Des Daphnis aus Cimbrien Galathee" (Hamburg, 164S), 78
Des ew'gin Vater s einig's Kind, 91
"Deutsch Euangelisch Messze" (Altstadt, 1524), 64
"Devoti Musica Cordis" (Leipzig, 1630), 5, 24, 25, 102,
107, 194 ; (2nd edit. Leipzig, 1636), 13
Dich bet ich an, mein hochster Gott, melody, Introd. p. 79
Dicimtis grates tibi, summe rerum, 130
INDEX 591
" Die Eitelheit, Falschheit und Unbestandigkeit der Welt"
(Coburg, 1652), 26
Die Elenden sollen essen, 75
Die Feind' sind alF in deiner Hand, 178
Die Himmel erzahlen die Ehre Gottes, 76
"Die Historien von der Sindfludt" (Wittenberg, 1562
[1560]), IS
Die Hoffnung warft der rechten Zeit, 86
Die Kon'ge aus Saba kamen dar, 65
"Die Sontags Euangelia" (Wittenberg, 1560), 67, 151
Die Siind hat uns verderbet sehr, 10 1
Die Siind macht Leid, 40
Die Welt bekiimmert sick, 94
Die Welt sucht Ehf und Ruhm, 94
Die Wollust dieser Welt, melody, 45, 64, 94, 128, 129, U i
Dies sind die heifgen zehn Gebot', melody, 77
Dir, dir, Jehovah, will ich singen, melody, Introd. p. 80
Drauf schliess' ich tnich in deine Hdnde, M 5
Dresden "Gesangbuch" (1593), the, 40, 48 ; (1625), 135 n.
"Drey schone Newe Geistliche Gesenge" (1592), 40
Drum fahrt nur immerhin, ihr Eitelkeiten, 122
Drum so lasst uns imtnerdar, 115
Drum, will ich, well ich lebe noch, 153
Drum, wir auch billig frohlich sein, 145
Du bist ein Geist, der lehret, 183
Du bist m,ein, well ich dich fosse, M 4
Du Friedefurst, Herr Jesu Christ, 116
Du FriedefUrst, Herr Jesu Christ, st. i, 67, 116, 143;
St. iii, 143; St. vii, 116; trans., App. II (26) ; melody,
■ 67, 116, 143
Du geballies Weltgebaude, 56
Du heilige Brunst, siisser Trost, M 2
Du HiRTE Israel, hore, 104
Du Lebensfiirst, Herr Jesu Christ, st. i, 43 ; st. iv, 11;
St. xiii, 43 ; trans., App. II (27)
Du, O schones Weltgebaude, St. vi, 56 ; trans., App. II
(28) ; melody, 56
Du SOLLST GOTT, DEINEN HERREN, LIEBEN, 77
Du stellst, mein Jesu, selber dich, yy
Du sUsse Liebe, schenk' uns deine Gunst, 169, 197
Du WAHRER GOTT UND DAVIDS SOHN, 23
Durch Adams Fall ist ganz verderbt, st. vii, 109 ; st. viii,
18 ; trans., App. II (29) ; melody^ 18, 103, 109
*Ebeling, Johann Georg (1637-76), M 4
592 INDEX
Eber, Paul (1511-69), 16, n, 28, 127, 130
Ebert, Jakob (1549-1614), 67, 116, 143
Ehr' set Gott in dem hochsten Thron, 33
Ehre sei Gott in der Hohe, U i
Ehr' sei itis Himmels Throne, 135
Ei nun, mein Gott, so fair ich dir, 65, 92
Eichorn, Johann (1561-69), 16, 130, 187
"Ein Andachtiges Buss-Lied" (Leipzig, 1632), 46
" Ein ander new Opus Geistlicher Deutscher Lieder"
(Frankfort, 1605), 3, 5
" Ein ausszug guter alter un newer Teutscher liedlein "
(Niirnberg, 1539), 13
Ein Kind gebom zu Bethlehem, st. iv, 65 ; trans., App.
II (31) ; melody, 65
"Ein New Gesengbuchlen" (Jung Bunzlau, 1531), App. I (i)
"Ein Schlesich singebiichlein " (Breslau, 1555), 67
" Ein schon geistlich Gesangbuch " (Jena, 1609), 5, 95, 106,
122, 159
Ein ungefarbt Gemuthe, 24
EiN' feste Burg ist unser Gott, 80
Eiti feste Burg ist unser Gott, st. i-iv, 80 ; trans., App.
II (30) ; melody, 80
Eine Stimme lasst sich horen, 30
Einen guten Kampf haff ich, melody, 40
Eins ist nothj ach Herr, dies eine, melody, Introd. p. 82
Emilie Juliane Countess of Schwarzburg-Rudolstadt(i637-
1706), 27, 84, 166
"Enchiridion Geistliker Leder und Psalmen D. Mai'.
Luth." (Hamburg, 1565), 127
"Enchiridion Oder eyn Handbuchlein" (Erfurt, 1524), 2,
4, 9, 22, 36, 59, 77, 121, D 2 (Erfurt, 1527), 184
Entlaubt ist uns der Walde, melody, 37
Er ist das Heil und selig Licht, 83, 125.
Er kann und will dich lassen nicht, 138
Er kennt die rechte7t Freudenstunden, 93
Er rufet seinen Schafen mit Namen, 175
Erbarm' dich mein in solcher Last, 113, 131
Erforsche MICH, Gott, und erfahre mein Herz, 136
Erfreut euch, ihr Herzen, 66
Erfreutk Zeit im neuen Bunde, 83
Erhalf mein Herz im Glauben rein, 3, 153
Erhalt' uns, Herr, bei deinem Wort, 126
Erhalf uns, Herr, bei deinem Wort, st. i, 126 ; st. ii, 6 ;
St. iii, 126 ; trans., App. 11 (32) ; melody, 6, 42, 126
Erhalf uns in der Wahrheit, 79
INDEX S93
Erleucht' auch unsern Sinn und Here, ii6
Ermuntre dich, mein schwacher Geisf, melody, ii, 43
Ernesti, Johann Heinrich (d. 1729), Introd. p. 46 n.
"Ernewertes Gesangbuch" (Stralsund, 1665), 57
Erschallet, ihr Lieder, 172
Erschienen ist der herrlicK Tag, st. i, 67 ; st. xiv, 145 ;
trans., App. 11 (33) ; melody, 67
Erstanden ist der heilge Christ, melody, 67
Ertodf uns durch deiri Giite, 22, 96, 132, 164
ERWiiNSCHTES Freudenhcht, 184
Es bringt das rechte Jubeljahr, 122
Es danke, Gott, und lobe dich, 69, 76
Es ERHUB SICH EIN StREIT, 1 9
Es IST DAS HEIL uns KOMMEN HER, 9
Es ist das Heil uns kommen her, 9, st. i, 9 ; st. xi,
86; St. xii, 9, 155, 186; trans., App. 11 (34); melody,
9, 86, 117, 155, 186
Es 1ST DIR GESAGT, MeNSCH, WAS GUT 1ST, 45
Es IST EIN TROTZIG UND VERZAGT DiNG, I76
ES IST EUCH GUT, DASS ICH HINGEHE, I08
Es ist genug : Herr, wenn es dir gefdllt, 60
Es ist genug J so nimm, Herr, meinen Geist, st. v, 60 ;
trans., App. II (35) ; melody, 60
Es ist gewisslich an der Zeit, melody, 70
Es 1ST NIGHTS GESUNDES AN MEINEM LEIBE, 25
Es kann mir fehlen nimmermehr, 92
Es REIFET EUCH EIN SCHRECKLICH ENDE, 90
Es sind doch selig alle, melody, App. i (2)
Es sind j a Gott sehr schlechte SacheM, 93
Es war ein wunderlicher Krieg, 4
Es WARTET ALLES AUF DICH, 1 87
Es wolP uns Gott genddig sein, st. i, 76 ; st. iii, 69, 76 ;
trans., App. 11 (36) ; melody, 7, 69, 76
"Etlich Christlich lider Lobgesang, und Psalm" (Wit-
tenberg, 1524), 2, 9, 38
"Eyn Enchiridion oder Handbuchlein " (Erfurt, 1524),
38, 178, see "Enchiridion"
"Eyn gesang Buchleyn" (Zwickau, 1525), 178
Fabricius, Werner (1633-79), 12, 8
Falck, Georg (1672), 78
Falsche Welt, dir trau ich nicht, 52
Ferdinand, du grosser Kaiser, melody, 78
" Fest- Bus- und Danck- Lieder " (Zittau, 1659), 70
*Figulus, Wolfgang (f. 1520-91), 11
T. B. C. 38
594 INDEX
Flemtning, Paul (1609-40), 13, 44, 97
Flora, Meine Freude, 64
For the righteous the light hath awakened, 195
" Form und Ordnung Gaystlicher Gesang und Psaltnen"
(Augsburg, 1533), 52
Forster, Georg (1539), 13
" Fortgepflantzter Musikalisch-Poetischer Lustwald" (Jena,
1657), 21
Franc, Guillaume (d. 1570), 13
*Franck, Johan (1618-77), 56, 64, 81, 180, M 3
Franck, Melchior (d. 1639), 46, 133
Franck, Michael (1609-67), 26
Franck, Salomo (1659-1725), Intrdd. p. 6 n.
Freu' dich du wertke Christenheit, melody, g
Freue dich, erloster Schaar, 30
Freii dick sehr, O meine Seele, st. ix, 19 ; st. x, 70 ; trans.,
App. II (37) ; melody (see " Ainsi qu'on oit le cerf")
Freuet euch, ihr Christen alle, st. iv, 40 ; trans., App. Il
(38) ; melody, 40
"Frewden Spiegel dess ewigen Lebens" (Frankfort, 1599),
I, 140
Freylinghausen, Johann Anastasius (1670-1739), 107
Freystein, Johann Burchard (1671-1718), 115
Frisch auf, mein Geist, sei Wohlgemuth, melody, 12
Fritsch, Ahashuerus (1629-1701), 57, 45, 123, 163
Fritzsch, Martin (1593), 40, i [o n.
From depths of woe I call on Thee, 38
"Frommer Christen Tagliches Bet-Kammerlein" (Goriitz,
1661), 147
Fiihr' auch m,ein Herz und Sinn, 5, 148, 163
"Fiinff Schone Geistliche Lieder" (Dresden, 1556), 72
Fiir Freuden lasst uns springen, melody, Introd. p. 71
Furchte dich nicht, ich bin BEI DIR, M 4
*Fuger, Caspar (d. c. 1592), 40, no, 142
*Fuger, Caspar (d. 1617), 40, no, 142
Funcke, Friedrich (1642-99), 40
Gastorius, Severus (1675), 12
Gaudete omnes populi, 80 n.
GedenH an deins Sohns bittern Todt, loi
Gedenk' an Jesu bittern Tod, loi
Gedenke dock, m,ein Geist, surUcke, melody, Introd. p. 83
Gedenk, Herr Jesu, an dein Amt, 143
"Geistliche Andachten" (Berlin, 1666-67), 108, M4
"Geistliche deutsche Lieder" (Frankfort, 1601), 67
INDEX 595
" Geistliche Kirchen-Melodien " (Leipzig, 1649), 56, 180
"Geistliche Lieder" (Frankfort a. Oder, c. 1580), 16
"Geistliche Lieder" (Wittenberg, 1529-35), 16, 18,42, 59,
, 66, 73, 80, 177, 178, D 2
Geistliche lieder auffs new gebessert und gemehrt"
(Leipzig, 1539), 37, 85, 90, App. I (7)
Geistliche Lieder D. Mart. Lut." (Frankfort a. Oder,
1561), 130; (1569), 187
"Geistliche Lieder, den Gottseligen Christen zugericht"
(Miihlhausen, 1575), 79
" Geistliche Lieder und Psalmen" (Berlin, 1653), 20, 79, 145
"Geistliche Lieder und Psalmen" (Erfurt, 1597), 122, 135
" Geistliche Lieder zu Wittemberg " (Wittenberg, 1543), 6,
, 65
Geistliche Psalmen" (Niimberg, 1611), 6
"Geistliche PsalmMi, Hymnen, Lieder und Gebet" (Niim-
berg, 1607), 188
"Geistliche Seelen Musik" (Rostock, 1659), ij
"Geistliche Singe-fCunst " (Leipzig, 1671), 30
"Geistlicher Harffen-Klang " (Leipzig, 1679), 27
"Geistliches Neu-vermehrtes Gesang-Buch" (Schleusingen,
1672), 27
"Geistreiche Gesang Buch" (Halle, 1697), 133
" Geistreiches Gesang-Buch" (Darmstadt, 1698), 45, 123
Gelobet sei der Hjerr, 129
Gelobet sei der Herr, st. i, 129 ; st. v, 129 ; trans., App. 11
(39)
Gelobet seist du, Jesu Christ, 91
Gelobet seist du, Jesu Christ, st. i, 91 ; st. ii, 91 ; st. vii,
64, 91 ; trans., App. 11 (40) ; melody, 64, 91
Geneva Psalter (1551), the, 13, 127, 130
*Gerhardt, Paul (1607-76), 32, 40, 65, 74, 92, 103, 108, 135,
153, 159. 176, 183, 194, 195, M 4
"Gesangbuch Christlicher Psalmen und Kirchenlieder ''
(Dresden, 1625), 135 n.
" Gesangbuch. Darinnen Christliche Psalmen unnd Kirchen
Lieder" (Dresden, 1593), 40, 48
Gesangbuch der Briider inn Behemen und Merherrn "
(Niimberg, 1544), 37, 187
Gesenius, Justus (1601-73). E) 3, 39
Gesius, Bartholomaus (1555 ?— 1613-4), 67, 3, 5, 116, 143
"Geystliche ges^ugk Buchleyn" (Wittenberg, 1524), 2, 4,
7, 14, 18, 22, 36, 38, 59, 64, 69, 77, 83, 121, 169
"Geystliche Lieder" (Leipzig, 1545), 33
Gieb, doss ich thu' mit Fleiss, 45
38—2
596 INDEX
Gieb dich zufrieden, und set stille, melodies, Introd. pp.
84, 86
Gieb unsern Fursten, melody, 42, 126
Gigas, Johannes G. (i 514-81), 114
"Glaub- und Liebesiibung" (Bremen, 1680), 40, 57, 137
Gleich wie der Regen und Schnee vom Himmel
Fallt, 18
Gloria Paschalis, the, melody, 85
Gloria set dir gesungen, 140
Glorie, Lob, Ehr' und Herrlichkdt, 106
God goeth up with shouting, 43
God's time is best, 106
God's time is the best, 106
Gorlitz "Gesangbuch" (i6ir), the, 161
GOTT, der HERR, 1ST SONN' UND SCHILD, 79
GOTT DER HOFFNUNG ERFULLE EUCH, D 2
Gott des Himmels und der Erden, melody, App. I (3)
Gott fdhret auf gen Himmel, st. vii, 11 ; trans., App. 11 (41)
GOTT FAHRET AUF MIT JaUCHZEN, 43
Gott hat die Erd' sckon zugericht't, 187
Gott keiPger Geist, du Troster werth, 126
Gott ist mein Konig, 71
Gott ist mein Schild und Helfersmann, see Ist Gott, etc.
Gott ist uns're Zuversicht, 197
Gott Lob und Dank, der nicht zugab, 14
Gott, man lobet dich in der Stille, 120
Gott, m.ein Herz dir Dank zusendet, melody, Introd. p. 87
Gott segne noch die treue Schaar, 76 n.
Gott soll allein mein Herze haben, 169
Gott Vater, sende deinen Geist, st. ii, 74 ; st. x, 108 ; trans.,
App. II (42)
Gott, wie dein Name, so ist auch dein Ruhm, 171
Gott, wie gross ist deine Giite, melody, Introd. p. 88
Gottes Zeit 1ST die allerbeste Zeit, 106
Gottlob, es geht nunmehr zum Ende, melody, Introd. p. 90
GOTTLOB ! NUN GEHT DAS JAHR ZU ENDE, 28
Gottsched, Professor J. C, Introd. pp. 12, 24
Goudimel, Claude (1507-72), 130
Graf, Simon, 95
Grates nunc omnes reddamus, melody, 64
Graumann, Johann (1487-1541), 17, 28, 29, 51, 167, M i
*Greitter, Matthaus (d. c. 1550), 69, App. I (2)
Gross ist, O grosser Gott, melody, 24, 45
Grossgebauer, Philipp (d. 171 1), 106 n.
Griienwald, Georg (d. 1530), 86, 74
INDEX 597
Grummer, Theobald (1642), 78
Gute Nacht, O Wesen, 64
Gutes und die Barmherzigkeit, 112
Gutknecht, Jobst (1531). 80
Halberstadt "Gesangbuch" (1673), the, 128
Halle "Gesangbuch" (1697), the, 133; (1698), 115
Halt* im Gedachtniss Jesum Christ, 67
Hamburg "Enchiridion" (1565), the, 127
Hammerschmidt, Andreas (1612-75), 40, 70, 124, 154,
157, 163
" Handbiichlein : Geistliche Lieder und Gebetlin " (Frank-
fort a. Oder, 1586 [1582]), 166
" Hannoverische ordentliche Vollstandige Gesangbuch"
(Gottingen, 1676), 12 ; (Liineburg, 1657), 77
Hanover "Gesang-Buch" (1646), the, 45, 107, D 3 ; (1657),
^^
"Harmonia Cantionum ecclesiasticarum " (Leipzig, 1598),
85, App. I (i)
" Harmoniae sacrae" (Gorlitz, 1613), 161
" Harmonischer Lieder-Schatz, oder AUgemeines Evange-
lisches Choral-Buch" (Frankfort, 1738), 133
Harsdorffer, Georg Philipp (1607-58), 78
*Hassler, Hans Leo (1564-1612), 135, 153, 159, 161
Hast du denn, Jesu, dein Angesicht gdntzlich verborgen,
St. vi, 57 ; trans., App. II (43) ; melody, 57
Hast du denn, Liebster, dein Angesicht gdntzUch verborgen,
57
"M. Joh. Heinrich Havecker's...Kirchen-Echo" (Leipzig,
1695), 27
*Heermann, Johann (1585-1647), S, 13, 24, 25, 45, 71, 89,
107, 136, 148, 163, 194, 199. App. I (4)
Heil'ger Geisi in's Himmels Throne, 194
Helbig, Johann F. (1720), Introd. p. 6 n.
Helft mir Gotfs Giite preisen, st. vi, 16, 28 ; trans., App. 11
(44); melody, ir, 16, 28, 183
Helmbold, Ludwig (1532-98), 73, 11, 79> i6S, D 4
Henrici, Christian Friedrith (1700-64), Introd. pp. 6n.,
ign., 31
Henssberg, Paul von (d. 1652), 162
*Herberger, Valerius (i 562-1627), 95
Herbert, Petrus (d. 1571), IS9
Herman, Nicolaus (d. 1561), 15, 6, 31, 67, 95, 145, 151, 195
Hermann, Johann (fl. 1548-63), 41, 171. 190
Herr Christ, der ein'ge Gottes-Sohn, 96
598 INDEX
Herr Christ, der einig' Gotts Sohn^ st. i, 96 ; st. v, 22, 96,
132, 164 ; trans., App. 11 (45) ; melody, 22, 96, 132, 164
Herr, deine Augen sehen nach dem Glauben, 102
Herr, gehe nicht in's Gericht, 105
Herr, gieb das ich deiri Ehre, 107
Herr Gott, Beherrscher aller DiIjge, U 3
Herr Gott, dich loben alle wir, 130
Herr Gott, dich loben alle wir^ st. i, 130 ; st. xi, xii, 130 ;
trans., App. 11 (46) ; melody, 130
Herr Gott dich loben wir, 16
Herr Gott dich loben wir, 16, 119, 120, 190 ; trans., App. 11
(47) ; melody, 16, 119^ 120, 190
Herr Gott Vater, mein starker Heid, 37
Herr.' ich glaube^ hilf mir Schiuacken, 78
Herr, ich habe missgehandelt, melody, 162
Hetr, ich hoff' je, 184
Herr Jesu Christ, du hast bereit, melody, Introd. p. 71
Herr Jesu ChrisTj du hochstes Gut, I13
Herr Jesu Christ, du hochstes Gut, st. i, 113 ; st. ii, 113,
131 ; St. iv, 113; St. V, 131; St. vii, 113; st. viii, \\%,
168; trans., App. 11 (48) ; melody, 48, 113, 131, 166, 168
Herr Jesu Ch'rist, einiger Trost, 48
Herr Jesu Christ, ich schrei zu dir, st. xii, 48; trans., App.
II (49); melody, 48, 113, 131, i66, 168
Herr Jesu Christ, ich weiss gar wohl, st. iii, 166 ; trans.,
App. II (so)
Herr Jesus Christ, tnetn's Lebens Licht, see O Jesu Christ,
etc.
Herr Jesu Christ, wahr'r MeMsch und Gott, 127
Herr Jesu Christ, •waht'r Mensch und Gott, st. i, 127 ; st.
viii, 127; trans., App. ll (51); melody, 127
Herr, mein Hirt, BrunH aller Freuden, M 4
Herr, nun las^ in Friede, melody, Introd. p. 69
Herr, wie du willt, so Schick's mit mir, 73
Herr, wie du willt, so schicks mit mir, st. i, 73, 156
trans., App. 11 (52) ; taelody, 156
Herrscher iiber Tod und Leben, S
Herz umd Mund und That und Leben, 147
Herzlich lieb haV ich dich, O Herr, st. i, 174; st. iii, 149;
trans., App. 11 (53); melody, 149, 174
Herzlich thut mich verlangen, st. iv, 161 ; trans., App. 11
(54); melody, 25, 135, 153, 159, 161
Herzliebster Jesu, was hast du verbrochen, melody, App. I (4)
Hesse, Johann (1490-1547), 13
Heuf lebst du, heut' bekehre dich, 102
INDEX 599
Heuf schleusst er wieder auf die Thiir^ 151
Hier ist das rechte Osterlamm, 4, 158
Hier lieg ich nun, O Vater aller Gnaden, melody, Intrpd.
p. 91
Ifilf deinem Volk, Herr Jesu Christ, 1 19
J^ilf, Herr Jesu, lass' gelingen, melody, Introd. p. 73
Hilf mir, Herr Jesu, weil ich lelf, melody, 3
Hilf inir mein' SacK recht greifen an, 153
Hilf, O Herr Jesu, hilf du mir, 102
" HimlischerLiedermit...Melodeien" (Luneburg, 1641-42),
11,20, 55,78
HiMMELSKONIG, SEI WILLKOMMEN, 182
" Himmels-Lust und Welt-Unlust" (Jena, 1679), 45, 123
"Himmlische Harpffe Davids" (Nurnberg, 1581), 52
Hinunter ist der Sonnenschein, melody, 6
HQCHSTERWiJNSCHTES FREUDENFEST, 194
Hojer, Conrad, 3
Hold in remembrance Jesus Christ, 67
Homburg, E. C. (1605-81), "Geistlicher Lieder" (Naum-
burg, 1659 [1658]), 8s, 12
Horn, Johann, see Roh, Johann
How BRIGHTLY SHINES, I
" Hundert ahnmuthig- und sonderbahr geistlicher Arien"
(Dresden, 1694), 85, 115; (i7i4)> I39
" Hundert Christenliche Haussgesang" (Frankfort a. Oder,
1569), 187
" Hymni sacri Latini et germanici" (Erfurt, 1594), 6, 127
I HAD GREAT HEAVINESS OF HEART, 21
I WITH MY CROSS-STAFF GLADLY WANDER, 56
Ich armer Mensch, ich armer Siinder, st. i, 179; trans.,
App. II (55)
Ich armer Mensch, ich Sundenknecht, 55
Ich bin ein guter Hirt, 85
Ich bin, ja, Herr, in deiner Macht, melody, Introd. p. 93
Ich bin vERGjfiJGT mit meinem Glucke, 84
Ich bitte dich, Herr Jesu Christ, 166
Ich bitf O Herr, aus Herzens Grund, 18
Ich dank' dir, lieber Herre, st. iv, 37 ; trans., App. 11 (56) ;
melody, 37
Ich Dein betrubtes Kind, 199
Ich elender Mensch, 48
Ich freue mich in dir, 133
Ich freue mich in dir, st. i, 133; st. iv, 133, U I ; trans.,
App. II (57) ; melody, 133, Introd. p. 71
6oO INDEX
ICH GEH' UND SUCHE MIT VERLANGEN, 49
Ich ging einmal spazieren, melody, 11
ICH GLAUBE, LIEBER HeRR, HILF MEINEM UNGLAUBEN,
109
Ich gniige mich an meinem Stande, melody, Introd. p. 94
Ich hav dich einen Augenblick, 103
Ich hab' in Gottes Herz und Sinn, 92
Ich half in Gottes Herz und Sinn, st. i, ii, 92 ; st. v, 92 ;
St. X, 65, 92 ; St. xii, 92 ; trans., App. 11 (58)
Ich haV mein Sack Gott heimgestellt, melody, 106
Ich habe meine Zuversicht, 188
Ich haff vor mir ein' schwere Rei£, 58
Ich halte treulich still, melody, Introd. p. 96
Ich hatte viel Bekummerniss, 21
Ich Iport ein Fraulein klagen, melody, 22
Ich lass' dich nicht, melody, Introd. p. 68 n.
Ich lasse dich nicht, du segnest mich denn, 157
Ich leV indess in dir vergniiget, 84
Ich liebe den Hochsten von ganzem Gemuthe,
174
Ich liebe Jesum alle Stund, melody, Introd. p. 97
Ich lieg' im Sireit und widerstreff, 177
Ich rief dem Herrn in meiner Noth, 117
Ich ruf' zu dir, Herr Jesu Christ, 177
Ich ruf zu dir, Herr Jesu Christ, st. i, 177, 185 ; st. v,
177 ; trans., App. 11 (59) ; melody, 177, 185
Ich steK an deiner Krippen hier, melody, Introd. p. 98
Ich steh' mit einem Fuss im Grabe, 156
Ich Weiss mir ein Roslein hiibsch und f ein, melody, 106
Ich will alle meine Tage, 25
Ich will auf den Herren schau'n, 93
Ich will den Kreuzstab gerne tragen, 56
Ich will des Herren Zom, melody, 133
Ich will hier bei dir stehen, 159
Ich will zu alter Stunde, st. xiv, 107 ; trans., App. II (60)
IHR, DIE IHR EUCH VON CHRISTO NENNET, 164
Ihr Menschen, ruhmet Gottes Liebe, 167
IHR WERDET WEINEN UND HEULEN, I03
// me souffit de tous mes maulx, melody, 65
// r{y a icy celluy, melody, 130
In ALLEN MEINEN THATEN, 97
In alien mdnen Thaten, st. i, 97 ; st. xv, 13, 44, 97 ;
trans., App. H (6i)
In dich half ich gehoffet, Herr, st. i, 52 ; st. vii, 106 ;
. trans., App. II (62) ; melody, 52, 106
INDEX 6oi
In dieser letzt betrubten Zeit, 6
In Gottes Namen fahren wir, melody, 77
In natali Domini^ melody, 187
Innspruck, ich muss dick lassen, melody, 13
*Isaak, Heinirich (b. c. 1440), 13, 44, 97
1st Gott mein Schild und Helfersmann, st. iv, 85 ; trans.,
App. II (63) ; melody, 85, Introd. p. 69
1st Gott mein Schuiz und treuer Hirt, 85
Isf Gott versohnt und unser Freund, 122
Jahn, Martin, see Janus, Martin
Jakob, F., and Richter, E., "AUgemeines vierstimmiges
Kirchen- und Haus-Choralbueh" (Berlin, [1873]), M 5
Janus, Martin {c. 1620-82), 147, 154
Jauchzet DEM Herrn alle Welt, 28 n.
Jauchzet Gott in allen Landen, 51
Jedoch dein heilsam Wort, das macht, 113
Jesu, deine Liebeswunden, melody, Introd. p. 99
Jesu, deine Passion, 159, 182
Jesu, der du meine Seele, 78
Jesu, der du meine Seele, st. i, 78 ; St. xi, 105 ; st. xii, 78 ;
trans., App. 11 (64); melody (1662), 78, 105; (1641),
162
Jesu, du m,ein liebstes Leben, Introd. p. 73
Jesu dulcis memoria, 3
Jesu, Jesu, du bist mein, melody, Introd. p. 100
Jesu Kreuz, Leiden und Pein, melody, 159, 182
Jesu Leiden, Pein und Tod, st. xxxiii, 159, 182 ; trans.,
App. II (65); melody, 159, 182
Jesu, mein Hort und Erretter, 154
Jesu, meine Freude, M 3
Jesu, meine Freude, St. i, M 3 ; st. ii, 81, M 3 ; st. iv,
M 3 ; St. V, 64 i St. vi, M 3 ; trans., App. II (66) ;
melody, 64, 81, 87, M 3
Jesu, meiner Seelen Wonne, st. ii, 154 ; st. vi, 147 ; St. xvii,
147 ; trans., App. 11 (67)
Jesu, nimm dich deiner Glieder, 40
Jesu, nun sei gepreiset, 41
Jesu, nun sei gepreiset, st. i, 41 ; st. ii, 190; st. iii, 41,
171 ; trans., App. 11 (68); melody, 41, 171, 190
Jesu, priceless treasure, M 3
Jesu, wahres Brod des Lebens, 180
Jesum lass' ich nicht von mir, 124
Jesus bleibet m,eine Freude, 147
Jesus Christus, Gottes Sohn, 4
602 INDEX
Jesus, meine Zuversicht, melody, 145
Jesus nahm zu sich die Zwolfe, 22
Jesus nimmt die Sunder an, 113 n.
Jesus schlaft, was soix ich hoffen? 81
Jesus sleeps, vain all my hoping, 81
Jesus sleeps, what hope remaineth? 8i
Jonas, Justus (i493-iS55). '78, 73
Keimann, Christian (1^7-62), 40, 70, 124, 154, 157
Kein Menschenkind hier auf der Erd', 74
Keiri Frucht das Weizen-Kornlein bringi, 114
"Kirchen Gesang" (Frankfort, 1584), 15
" Kirche gesenge, mit vil schonen Psalmen unnd Melodey"
(Niimberg, 1531), 42, 80
" Kircheampt mit lobgsengen" (Strassburg, 1525), 69, 156 ;
App. I (2)
" Kirchenordnung " (Niimberg, 1557), 23
Klug, Joseph (fl. 1529-43), 6, 7, 16, 18, 42, 59, 65, 66, 70, 73,
80, 177, 178, D 2
Knoll, Christoph (1563-1650), 161, 135
Knox, John, Psalter (1561), 130
Konig, Johann Balthasar (1691-1758), 133
Kolross, Johann (d. 1558?), 37
KOMM, DU SUSSE TODESSTUNDE, l6l
Komm, Gott Sckopfer, heiliger Geist, st. i, D 2 ; trans.,
App. II (69) ; melody, D 2
Komm, heiliger Geist, Herre Gott, st. i, 59 ; St. iii, M 2 ;
trans., App. 11 (70) ; melody, 59, 172, 175, M 2
Komm, Jesu, komm, M 5
Komm, Jesu, komm, mein Leib ist miide, st. xi, M 5 ; trans.,
App. II (71) ; melody, M 5
Komm, O Tod, du Schlafes Bruder, 56
Komm, siisser Tod, melody, Introd. p. 102
Kommst du nun, jesu, vom Himmd herunter, melody, 57
Kommt her, ihr lieben Schwesterlein, 151
Kommt her zu mir, spricht \_sagt\ Gottes Sohn, st. xvi,
86 ; trans., App. II (72) ; melody, 74, 86, 108
Kommt, lasst euch den Herren lehren, st. vi, 39 ; trans.,
App. II (73)
Kommt, Seelen, dieser Tag, melody, Introd. p. 104
Kommt ivieder aus der finstern Gruft, melody, Introd.
p. IDS
Kradenthaller, Hieronymus (1675), 24
Krebs, Johann Ludwig, Introd. p. 73
Kugelmann, Johann (d. 1542), 17, 28, 29, 167, M i
INDEX 603
Lass" deiii Engel mit mir fahren, 19
Lass? deine KircK und unser Land, D 3
Lass' uns das Jahr vollbringen, 190
Leit' uns mit deiner rechten Hand, 90, loi
Let songs of rejoicing be raised, 149
llebster gott, wann werd' ich sterben? 8
Liebster Gott, wann werd' ich sterben f st. i, 8 ; st. v, 8 ;
trans., App. li (74) ; melody, 8
Liebster Herr Jesu, wo bleibst du so lange, melody, Introd.
p. 106
Liebster Immanuel, Herzog der Frommen, 123
Liebster Immanuel, Herzog der Frommen, st. i, 123; st. v,
123 ; trans., App. 11 (75) ; melody, 123
Liebster Jesu, mein Verlangen, 32
Lob, Ehr' und Dank sei dir gesagt, 121
Lob, Ehr' und Preis sei Gott, 192
Lob sei Gott dem Vater g'thon, 36, 62
Lob und Preis sei Gott dem Vater, 10
Lobe den Herren, den machtigen Konig der
Ehren, 137
Lobe den Herren,den machtigen Konig der Ehren, st. i, ii, 137;
St. iv, V, 137, U 3 ; trans., App. II (76) ; melody, 57, 137,
U3
Lobe den Herren, der Alles so herrlich regieret, 137
Lobe den Herren, derdeinen Stand sichtbar gesegnet, 137, U 3
Lobe den Herren, was in mir ist, lobe den Namen, 1 37, U 3
Lobe den Herrn, meine Seele, 69, 143
LoV Gott getrost mit Singen, melody, 37
Lobet Gott in seinen Reichen, ii
Lobt Gott, ihr Christen alle gieich, st. viii, 151 ; trans.,
App. II (77); melody, 151, 195
Lobt ihn mit Herz und Munde, D 4
Lobt ihn mit Herz und Munde, D 4
Lossius, Lucas (i553)> 65
Louise Henriette, Electress of Brandenburg (1627-67), 145
Liineburg "Gesangbuch" (i66i), the, 128; (1686), 40
Luppius, Andreas '(1692), 139
" Lust- und Artzneigarten des Koniglichen Propheten
Davids" (Regensburg, 1675), 24
"Lustgarten Neuer Teutscher Gesang" (Niirnberg, ifioi),
135
Luther, Martin (1483-1546), 2, 4, 6, 14, 16, 22, 36, 38, 42,
59, 61, 62, 64, 69, 70, 76, 77, 80, 83, 90, 91, 95, 106,
119, 120, 121, 125, 126, 153, 156, 158, 169, 190, 197,
D 2, M 2 ; App. I (6)
604 INDEX
Mache dich, mein Geist, bereit, 115
Mache dich, mein Geist, bereit, st. i, 115; St. x, 115;
trans., App. 11 (78) ; melody, 115
Mack's mit mir, Gott, nach deiner GUf, st. i, 156; trans.,
App. 11 (79); melody, 139, 156
*Magdeburg, Joachim {c. 1525-83), 11, 65
Major, Johann (i 564-1654), 48
Man halte nur ein wenig stille, 93
Man singet mit Freuden vom Sieg, 149
Manebit verbum Domini, 80 n.
Marenzio, Luca (d. 1598), 79
" Meditationes Sanctorum Patrum" (Gorlitz, 1584, 1587),
3. 90
Mein Gott, qffne mir die Pforten, 32
Mein Gott, wie lang', ach lange, 155
Mein Herze schwimmt im Blut, 199
Mein Jesu, was vor Seelenweh, melody, Introd. p. 108
Mein hebster Jesus ist verloren, 154
Meine Hoffnung stehet feste, melody, 40
Meine Seel' erhebt den Herren, 10
Meine SeeV erhebt den Herren, melody, 10; trans., App. 11
(80)
Metne Seele, lass' es gehen, melody, Introd. p. 109
Meine Seufzer, metne Thranen, 13
Meinen Jesum lass' ich nicht, 124
Meinen Jesum las^ ich nicht, st. i, 124; st. v, 70; st. vi,
124, 154, 157; trans., App. II (81); melody, 70, 124,
154, 157, 163, Introd. p. 69
Meines Lebens letzte Zeit, melody, Introd. p. 71
Melanchthon, Philipp (1497-1560), 130
Melissander, see Bienemann, Caspar
Meusel, Wolfgang (1497-1563), 112
Meyfart, Johann Matthaus (i 590-1642), 46
Mir mangelt zwar sehr viel, 89
MiT Fried' und Freud' ich fahr' dahin, 125
Mit Fried" und Freud' ich fahr' dahin, st. i, 95, 106,
125 ; St. ii, 125 ; st. iv, 83, 125 ; trans., App. 11 (82) ;
melody, 83, 95, 106, 125
Mit Segen mich beschutte, 194
Mit unsrer Macht ist nichts gethan, 80
Moller, Martin (1547-1606), 3, 44, 58, 90, loi, 153
Monoetius, Bartholomaus (1565), 47
Miiller, Heinrich (1631-75), 87
Muntzer, Thomas (1524), 64
Musculus, see Meusel, Wolfgang
INDEX 60s
"Musicalische Kirch- und Hauss-Eigotzlichkeit" (Leipzig,
„ 1713), 8, 40, 78, M 4
Musicalischer Andachten Geistlicher Moteten undt Con-
certen" (Freiberg, 1646), 40
Afuss ich setn betriibet, 87
My soul doth magnify the Lord, 10
My spirit was in heaviness, 21
Neander, Joachim (1650-80), 137, 40, 57, U 3
"Neu Leipziger Gesangbuch" (Leipzig, 1682 [1681]), i, 27,
68, 159
" Neuer geistlicher Arien " (Miihlhausen, 1660-64), 60
Neumann, Caspar (1648-1715), 8, 145
Neumark, Georg (1621-81), 21, 84, 88, 93, 166, 179, 197
Neumeister, Erdmann (1671-1756), Introd. p. 6 n.
" Neu-vermehrtes...Meiningisches Gesangbuch" (Mei-
. ningen, 1693), 24
" Neuvermehrtes vollstandiges Gesangbuch " (Brunswick,
166 1 ), 26
" Neu-Vollstandigers Marggrafl. Brandenburgisches Ge-
sang-Buch" (Bayreuth, 1668), 27
" New Leipziger Gesangbuch" (Leipzig, 1682 [i68i]), i, 159
"New Ordenthch Gesangbuch" (Brunswick, 1648), 39
"New Ordentlich Gesang-Buch" (Hanover, 1646), 45, 107,
D3
"Newe Symbola etlicher Fursten" (Niirnberg, 1571), 149
" Newes vollkomliches Gesangbuch" (Berlin, 1640), App. I
(4)
" News Gesanng, mit Dreyen stymmen " (Augsburg, 1540),
17
Nicht nach Welt, nach Himmel nicht, 70
Nicht so traurig, nicht so sehr, melody, Introd. p. no
Nicolai, Philipp (1556-1608), I, 36, 37, 49, 61, 140, 172
NiMM VON uns, Herr, du treuer Gott, ioi
Nimm von uns, Herr, du treuer Gott, st. i, iii, iv, v, vi,
IOI ; St. vii, 90, 101 ; trans., App. H (83)
NiMM, WAS DEIN 1ST, UND GEHE HIN, I44
Noch eins, Herr, will ich bitten dich, in
Nun bitten wir den heiligen Geist, st. iii, 169, 197 ; trans.,
App. II (84) ; melody, 169, 197
Nun danket alle Gott, 192
Nun danket alle Gott, st. i, 79, 192 ; st. iii, 192 ; trans.,
App. II (85) ; melody, 79, 192
Nun danket all' und bringet Ehr', st. i, 195 ; trans., App. 11
(86)
6o6 INDEX
Nun freut euch, lieben Christen g'tnein, melody, 70
Nun hilf uns, Herr,, den Dienern dein, 120
Nun, ich weiss, du wirst mir stillen, 105
Nun komm, der Heiden Heiland, 61, 62
Nun komm, der Heiden Heiland, st. i, 36, 61, 62 ; st. vi,
36 ; St. viii, 36, 62 ; trans., App. U (87) ; melody, 36,
61, 62
Nun lasst uns Gott dem Herren, st. v, 165 ; st. viii, 79 ;
trans., App. Il (88) ; melody, 79, 165, 194
Nun lieget alles unter dir, 11
Nun lob', mein Seel', den Herren, st. i, 28 ; st. iii, 17, M i ;
St. V, 28 n., 29, 51, 167 ; trans., App. 11 (89); melody,
17, 28, 29, 51, 167, M I
Nun werther Geist, ich folg' dir, 175
Nunc Dimittis, 83
NuR Jedem das Seine, 163
" Niimbergisches Gesang-Buch '' (Niirnberg, i6go), 12
O EWIGKEIT, DU DONNERWORT, 20, 6o
O Ewigkeit, du Donnerwort, st. i, 20, 60 ; st. xi, 20 ;
St. xvi, 20 ; trans., App. II (90) ; melody, 20, 60
O finstre Nacht, melody, Introd. p. iii
O God, how many pains of heart, 3
O Gott, der du aus Herzensgrund, st. ix, x, D 3; trans.,
App. II (91)
O Gott, du fromnier Gott, st. i, 24 ; st. ii, 45 ; st. vi, 71 ;
trans., App. 11 (92) ; melody (1646), 24, 45 ; melody
(1679), 45, 64, 94, 128, 129, U I ; melody (1693), 24, 71,
133, '64
O Gottes Geist, man Trost und Rath, st. ix, 175 ; trans.,
App. II (93)
O grosser Gott der Treu', 46
O grosser Gott von Macht, st. ix, 46 ; trans., App. 11 (94) ;
melody, 46, 133
O Haupt voll Blut, st. vi, 159 ; trans., App. II (95); melody,
see Herzlich thut mich verlangen
O heil'ges Geist- und Wasserbad, 165
O Herr, vergib, vergib mir's doch, 113
O Herre Gott, dein go Mich Wort, st. viii, 184 ; trans.,
App. II (96) ; melody, 184
O Herzensangst, O Bangigkeit und Zagen, melody, Intiod.
P-II3
O jEsu Christ, mein's Lebens Licht, 118
O Jesu Christ, mein's Lebens Licht, st. i, ii8 ; st. ii, 58;
trans., App. 11 (97); melody, 3, 44, 118, 153
INDEX 607
O Jesu Christ, Thou Prince of Peace, 116
O Jesu, du mein Brdutigam, melody, Introd. p. 69
O Jesu, meine Lust, st. iv, 128; trans'., App. II (98)
O Lamm Gottes unschuldig, melody, App. i (5)
O liebe Seele, zieh die Sinnen, melody, Introd. p. 115
O Mensch, beweiri dein Siinde gross, melody, App. l (2)
O Mensch, schau Jesum Christum an, melody, Introd.
p. 70
O PRAISE THE Lord for all His mercies, 28
O stilles Gottes Lamm, melody, 133
O Welt, ich muss dich lassen, melody, 13, 44, 97
Ob bei uns ist der Silnden viel, 38
Ob sicKs anliess, als wollt' er nicht, 9, 155, 186
Oemler, Georg Aemilius, 47 n.
"Old Hundredth," the, 130
Olearius, Johannes (161 1-84), 30, 129
On a beau son maison bastir, melody, 127
Or sus, serviteurs du Seigneur, melody, 130
" Ordnung des Herren Nachtmal" (Strasslsurg, 1525), 69, 1 56
Otto, Stephen {c. 1622), 40
Pachelbel, Johann (1653-1706), 12, 5, 163
"Pavia Tone," the, 18
Peter, Christoph (1655), 48
Pfefferkorn, Georg Michael (1645-1732), 64, 27, 94
Picander, see Henrici, Christian Friedrich
Poliander, see Graumann, Johann
Praise Jehovah in His splekdour, ii
Praise God ! the year draws to its closing, 28
Praise our God Who reigns in Heaven, ii
Praise thou the Lord, Jerusalem, 119
"Praxis Pietatis Melica" (Berlin, 1647), 32, 65, 194, 195;
(Berlin, 1648), 11, 79; (Berlin, 1653), 20, 40, 56, 64,
74, 103, 145, 153, 176, 180, 183, M 4; (Frankfort,
1656), 159; (Berlin, 1661), 26; (Frankfort, 1662), 37,
78, 95; (Berlin, 1709), 73. '39. I79
Preise, Jerusalem, den Herrn, 119
"Psalmen und geystliche Lieder" (Strassburg, 1537), 121
" Psalmodia, hoc est, Cantica sacra veteris ecclesiae selecta"
(Nurnberg, 1553 [iS5o])> 65
"Psalmodia nova" (Leipzig, 1630), 3
"Psalmodia sacra" (Gotha, 1715), 24
"Pseaumes octante trois de David" (Geneva, 1551), 13,
127, 130
Puer natus in Bethlehem, melody, 65
6o8 INDEX
Quirsfeld, Johann (1679), 27 n.
Reese, Frau (d. l'723), Introd. p. 46 n.
" Reformatorisches Choralbuch fiir Kirche, Schule und
Haus" (Berlin, [1873]), M 5
*Reissner, Adam (1496-c. 1575), 52, 106
Resonet in. laudibus, melody, i
Reusner, Adam, see Reissner, Adam
Rhau, Johann (1589), 106
Rhodanthracius, see Kolross, Johann
Richte dick, Liebste, nach meinem Gefallen und gldube,
57
Richter, E. (1873), IVI 5
Ringwaldt, Bartholomaus (i532-£-. 1600), 113, 48, 70, 131,
166, 168
Rinkart, Martin (i 586-1649), 79, 192
*Rist, Johann (1607-67), 11, 20, 40, 43, 55, 60, 78, 105, 175
Rodigast, Samuel (1649-1708), 12, 69, 75, 98, 99, 100,
144
Roh, Johann (d. 1547), 37, 187
Rosenmiiller, Johann (1619-84), 27, 158, 162
Rube, Johann Christoph (1665- 1746), 139
*Runge, Christoph (1619-81), 20, 79, 145
Rutihus, Martin (1550-1618), 48
" Sabbahtische Seelenlust...von Johann Rist" (Liineburg,
1651), 175
*Sacer, Gottfried Wilhelm (1635-99), 'i
Sachs, Hans (1494-1576), 47, 138
Schaffs mit mir, Gott, nach deinetn Willen, melody,
Introd. p. 116
*Schalling, Martin (1532-1608), 149, 174
SCHAU', LIEBER GO'IT, WIE MEINE FEIND', 1 53
Schau', lieber Gott, wie meine Feind', st. i, 153 ; trans.,
App. II (99)
SCHAUET DOCH UND SEHET, 46
Scheffler, Johann (1624-77), '47
*Schein, Johann Hermann (1586-1630), 5, 13, 52, 139, 156
Schemelli, Georg Christian, " Musicalisches Gesang-Buch"
(Leipzig, 1736), 8, 123 ; Introd. pp. 56, 72
Schmidt, Bemhard (1577), 149
SCHMUCKE DJCH, O LIEBE SEELE, 180
Schmiicke dich, O Hebe Seele, st. i, 180 ; st. iv, i8o ; st. ix,
180; trans., App. n (100); melody, 180
Schneegass, Cyriacus (1546-97), 122, 135
INDEX 609
Schneesing, Johannes (d. 1567), 33
Schnurr, Balthasar (1572-1644), 46
Schbnster Immanuel etc., see Liebster Immanuel
*Schop, Johann (d. c. 1665), 11, 20, 43, 55, 60, 146, 147, 154,
162
Schiittle deinen Kopf und sprick, 40
Schiitz, Johann Jakob (1640-90), 117, 45
Schumann, Valentin S. (d. 1545), 37, 85, 90, App. I (6)
Schwedler, Johann Christoph (1672-1730), M J
Schwing' dich auf zu deinem Gott, St. ii, 40 ; trans., App. 11
(loi) ; melody, 40, Introd. p. 70
SCHWINGT FREUDIG EUCH EMPOR, 36
Sedulius, Coelius, 121
Sehet, welch' eine Liebe hat uns der Vater er-
ZEIGET, 64
Sehet, wir geh'n hinauf gen Jerusalem, 159
Sei Lob und Ehr' dem hochsten Gut, 117
Set Lob und Ehr' dem hochsten Gut, st. i, 117; st. iv, 117;
St. ix, 117; trans., App. 11 (102)
Sei Lob und Preis mil Ehren, 28 n., 29, ji, 167; Introd.
p. 47 n.
Sein Wort, sein' Taufe, sein Nachttnahl, 165
Seklucyan, Pastor (1559), 47
Selig 1ST der Mann, 57
Selig ist die Seele, st. ix, 87; trans., App. II (103)
Selig sind, die aus Erbarmen, 39
Selig, wer an Jesum denkt, melody, Introd. p. 118
Selnecker, Nicolaus (1532-92), 6, 79
Sie stellen uns wie Ketzern nach, 178 •
SiE werdkn aus Saba Alle kommen, 65
SiE werden euch in den Bann thun, 44, 183
SIEHE, ES hat iJBERWUNDEN DER LOWE, D 3
slehe, ich will viel fischer aussenden, 88
Siehe zu, dass deine Gottesfurcht nicht Heuchelei
SEI, 179
Sing to the Lord a glad new song, 190
Sing ye to the Lord, M i
Sing', bef und geK auf Gottes Wegen, 88, 93, 197 n,
Singen wir aus Herzensgrund, st. iv, 187 ; st. vi, 187;
trans., App. Il (104); melody, 187
Singet dem Herrn ein neues Lie;d, 190, M i
Singt dem Herren, singet, melody, Introd. p. 119
Sleepers wake! for night is flying, 140
Sleepers wake, loud sounds the warning, 140
Sneider, see Agricola, Johannes
T. b. C. 39
6rO INDEX
So DU MIT DEINEM MUNDE BEKEffNEST JeSUM, 14:5
So fahr' ich hin zu Jesu ChHst, 31
So feierfi wir das hake Fest, 4
So gitbst diX niin, mein festi, gute Nacht, melddy, Introd.
p. 71
So komjnet vor sein AngeHcht, 117
So lang ein Gott im Himmel lebt, 2o
Sd set hun. Seek, deine, 13, 44, 97
So wahr ich lebe, sprichi dein Gott, st. vi, vii, i62 ; ti-a.ns.,
App. II (105)
So wandelt froh auf Gottes WigeA, 197
So ■wiinsch ich mir zu guterletzt, ttielbdy, Introd. p. 119
Someren, Theodor von (1609), 188 n.
Sahrth, Peter (1676), 70
Soils ja so sein, 48
Soil ich auf-dieser IVeli, 71
Soil ich denn auch des Todes IVeg, 92
Soul, array thyself with glaDNess, i8o
Spangenberg, Johanii (1545), 85
Spengler, Lazarus (1479-1534). 18, 109
Speratus, Paul (1484-1551), g, 86, 155, 186
Sprich J a zu meinen ThateH, 194
Stark mich mit deinem Freitdengeisi, 113, 168
Stay with us, the evening approaches, 6
Stengfer, Nitolaus (1663), 78
Sternhold, Thomas, and Hopkins, John, " The whole Book
of Psalmes" (1562), 130
Stieler, Caspar (167^^ i^3i '99
*Stockmann, P&ul (i6o2?-36), 159, 182
Stolberg, Ahna Countess of, 95
Straf mich nicht in deinem Zx&n, melody, 115
Stralsund "Gesangbuch" (1665), the, 57
" Sunden-Schmertzen, Tfost ifn Hettzen, Tddten Kei-tzen"
(Niimbetg, 1663), 179
SiJssER Trost, mein Jesus kommt, 151
Sunderreitter, Gtfegorius (1581), 52
Tale, NahUhi, and Brady, Nicolas, " New Version of the
Psalms" (1696), 130
Teller, Abraham (1649), 27
The Lord is my Shepherd, 112
The sages of Sheba, 65
The Spirit also helpeth us, M 2
There is nought of soundness in my body, 25
Thou very God and David's Son, 23
IJSTDEJf 01 1
" Threnodi^e " (Freiberg, 1620), 13, j,8, 48, J35
THUE ReCHNUNG! PONNERWpRT, f68
Tietze, Chrigtoph {1641-1703), 179
Titius, see Tietzg, Christpph
Tonus Peregrinus, 10
" Trente et quatre chansons musicales" (Paris, [1529]),
65
Trfuer Gott, ich muss dir ^Icfgen, st. vi, 194 ; st. vii, 194 ;
St. xii, 25 i trans., App. 11 (106)
Trostet, trosfet, meine L,iebefi, §t. iii, 30 ; trials., App- n
(iP7)
Und bitten dick: le^ollst alle^pit, 130
Und pbglfiich alfe Tei^fel, 1 53
Und was der ewig gufge Gott, 86
Und "weil ich denn in meifiein Sinn, 131
Und wenn die Welt voll Tfufel wdr', ,80
UnS 1ST EIN JKlND GEBORgN, 142
Unser Mund sei voll Lachens, no
Unter deinen Scfiirmen, 81, M 3
Valet will ich dir geben, st. i, 95 ; trans., App. n (108) ;
melody, 95
Vater unser im Himmelrfich, jnelody, 90, joi, 102
Veni Crecftor Spiritus, D 2
Veni Redemptor gentium, melAdy, 36
Veni Sancte Spirifus, 59
Venus dit und deift Kind, jnelody, 5
Vergiss mein nicht, mein allerliebster Gott, melody, Introd.
p. 121
Verleih' uns Frieden gn^digUfh, st. i, 42, 126; trans.,
App. II (109) ; melody, 6, 42, 126
"Vermehrtes Gesaiig-Buchlein" (Halberstadt, 1673), 128
Verzage nicht, 0 Hduflein klein, st. i, 42 ; trans., App. 11
(no)
Vespera jam venit, nobiscui?i Chnste maneto, 6
Vetter, Daniel (d. 1721), 8, 40, 78, M 4
Victimae paschflli, 4
" VoUstandige Kirchen- und Haus-Musjc" (Bresilau, c.
1700), 8
" Vollstandiges Gesang-Puch "' (Lun,eburg, i.66i)j 12S
Vom Himmel hoch dq, kpmm ich her, -pielpdyj App. i (6)
Vom Himmel kq,m der Engel Schuar, .midbdy, 65
Vo7i Adam her so lange Z^it, ipelody, 36 n.
Von Gott kpmJnt niir ein Frei^denschein, 172
6l2 INDEX
Von Gott will ich nicht lassen, st. v, D 4 ; st. ix, 73 ; trans.,
App. II (in); melody, 11, 73, 107, D 4
Vopelius, Gottfried (1645-1715), i, 27, 68, 159
*Vulpius, Melchior (i56o?-i6i5), 5,95, 106, 122, 159, 182
Wach auf, mein Geist, erhebe dich, melody, 20, 60
Wach auf, mein Herz, und singe, st. ix, 194; st. x, 194;
trans., App. 11 (112) ; melody, 79, 165, 194
Wachet auf, ruft uns die Stimme, 140
Wachet auf, ruft uns die Stimme, st. i-iii, 140; trans., App.
II (113); melody, 140
Wachet, betet, betet, wachet, 70
Wachet doch, erwacht, ihr Schldfer, melody, 78, 105
War' Gott nicht mit uns diese Zeit, 14
War' Gott nicht mit uns diese Zeit, st. i, iii, 14; trans.,
App. II (114); melody, 14
Wagner, Paul, "Andachtiger Seelen geistliches Brand- und
Gantz-Opfer" (Leipzig, 1697), 11, 128, 129
Wahrlich, wahrlich, ich sage euch, 86
Wailing, crying, mourning, sighing, 12
*Walther, Johann (1496-1570), 2, 4, 7, 14, 18, 22, 36, 38, 59,
64, 69, 77, 83, 121, 169, 176
Wann soil es dock geschehen, 1 1
Warum betrubst du dich, mein Herz, 138
Warum betriibst du dich, mein Herz, st. i, ii, iii, 138; st. xi,
47 ; trans., App. 11 (115) ; melody, 47, 106, 138
Warum betriibst dudich und beugest dich zu Erden, melody,
Introd. p. 122
Warum sollf ich mich denngrdmen, st. xi, M 4 ; st. xii, M 4 ;
trans., App. 11 (116); melody, M 4
Warum willsi du so zornig sein? loi
Was alle Weisheit in der Welt, st. viii, 176 ; trans., App. 11
(117)
Was betrubst du dich, metn Herze, melody, Introd. p. 123
Was frag ich nach der Welt, 94
Was frag ich nach der Welt, st. i, 64, 94 ; st. iii, 94 ; st. v,
94 ; St. vii, viii, 94 ; trans., App. II (118)
Was Gott thut, das ist wohlgethan, 98, 99, 100
Was Gott thut, das ist wohlgethan, st. i, 98, 99, 100, 144 ;
St. V, 75; St. vi, 12, 69, 99, 100; trans., App. 11 (119);
melody, 12, 69, 75, 98, 99, 100, 144
Was helfen uns die schweren Sorgen, 21, 93
Was hilft des Purpurs Majestat, 75 n.
Was mein Gott will, das g'scheh' allzeit, hi
INDEX 613
Was mein Gott will, st. i, 72, in, 144 ; st. iv, in ; trans.,
App. n (120); melody, 65, 72, 92, 103, in, 144
Was Menschen Kraft und Witz ansakt, 178
Was soll ich aus dik machen, Ephraim? 89
Was willst du dich betrxjben, 107
Was willst du dich betriiben, st. i, 107; trans., App. 11 (121);
melody, 107
Was woll wir aber heben an, melody, 18
Watch ye, pray ye, 70
Weber, Jeremias, "Gesangbuch" (Leipzig, 1638), 46
Weeping, wailing, mourning, fearing, 12
Weg, mein Herz, mit den Gedanken, st. xii, 32 ; trans.,
App. II (122)
Weg mit alien Schdtzen, M 3
Wegelin, Josua (1604-40), 128
Weicht, ihr Trauergeister, M 3
" Weihenacht und New Jahrs-Gesang " (Erfurt, 1595), 122
Weil du mein Gott und Vater bist, 138
Weil du vom Tod' erstanden bist, 15, 95
Weinen, Klagen, Sorgen, Zagen, 12
Weingartner, Sigismund (1607), 188, 148 n.
*Weisse, Michael (i48o?-i534), 36 n., App. I (i)
Welt, ade! ich bin dein miide, st. i, 27, 158 ; trans., App. II
(123) ; melody, 27, 158
Wenn einer alle Ding verstiind, st. viii, 77 ; trans., App. 11
(124)
Wenn mein Stundlein vorhanden ist, st. iv, 15, 95 ; st. v,
31 ; trans., App. II (125) ; melody, i;, 31, 95
Wer da glaubet und GETAUFT WIRD, 37
Wer Dank opfert, der preiset mich, 17
Wer hofft in Gott und dent vertraut, 109
Wer MICH l-IEBET, DER WIRD MEIN WORT HALTEN, 59, 74
Wer nur den lieben Gott lasst walten, 93
Wer nur den lieben Gott Idsst walten, st. i, 93 ; st. ii, 21, 93 ;
St. iii, iv, 93; St. V, 21, 93; st. vi, 93; st. vii, 88, 93,
197 ; trans., App. 11 (126) ; melody, 21, 27, 84, 88, 93,
166, 179, 197
Wer sich selbst erhohet, 47
Wer WEISS, wiE nahe mir mein Ende, 27
Wer weiss, wie nahe mir mein Ende ? st. i, 27, 166 ; st. xii,
84; trans., App. II (127)
Werde munter, mein Gemiithe, st. vi, 55 ; trans., App. 11
(128); melody, 55, 146, 147, 154
Werner, Margarita (d. 1628), 156
"Weynacht Liedlein" (Frankfort, 1575 [1569]), n
6l4 INDEX
When will God recall my spirit? 8
Wie bin ich dock so herzlich froh, i, 49
Wie schbn lenchten die Aeugelein, 1
Wie schon leuchtet der Morgenstern, i
Wie schon leuchtet der Morgenstern, st. i, i ; st. iv, 172 ;
St. V, 37 ; St. vi, 36 ; St. vii, I, 49, 61 ; trans., App. 11
(129); melody, 1, 36, 37, 49, 61
Wie schwerlich lUssi sick Fleisch und Blut, 3
Wie sick ein Vafr erbarmet, 17, M i
Wie wohl ist mir, Q Freund der Seelen, melody, Introd.
p. 125
Wildenfeis, Anark Herr zu (d. 1539), J 84
Wilisius, Jakob (d. 1695), 8
Wir Christenleuf, st. iii, 40 ; st. v, 1 10, 142 ; trans., App, 11
(130) ; melody, 40, no, 142
Wir danken dir, Gott, wir danken dir, 29
Wir d»nken dir, O fmmmer Gott, melody, 6
Wir danken sehr und bitten ihn, 187
Wir essen und leben ivohl, 4
Wir mussen durch viel Trubsal in das Reich
gottes eingehen, 1 46
Wir waphen oder sphlafen ein, 114
Witt, Christian Friedrich (d. 17 16), 24
wo gehest du hin ? 1 66
Wd Gott der Herr nicht bei uns halt, 178
Wo Gott der Herr nicht bei uns halt, st. i, 178 ; st. ii, 178 ;
st, iv, 178 ; St. V, 178; St. vii, 178 ; st. viii, 178; trans.,
App. u (131); melody, 73, 114, 178, D 3
Wo soll ich fliehen hin, 5
Wo soil ich fliehen hin, St. i, 5 ; st. iii, 199 ; st. vii, 89 ; st.
ix, 136; St. xi, 5, 148, 163; trans., App. il (J33) ;
melody (1609), 5, 89, 136, 1S8 ; (1679), 163, 199
WOHL DEM, DER SICH AUF SEINEN GOTT, 1 39
Wohl dem, der sich auf seinen Gott, st. i, 139 ; st. v, 139 ;
trans., App. II (133)
Wohl mir, das ich Jesum habe, 147
Wohlan! so will ich mich, 133, U i
Ye mortals extol the love of the Father, 167
You WILL they put under ban, 44
" Zehen Sterbegebet Reimweise zugerichtet " (Wittenberg,
1611), 58
Zeuch ein zu deinen Thoren, st. v, 183 ; trans., App. 11 (134)
Ziegler, Caspar (1621-90), 133, U 1
INDEX 615
Ziegler, Marianne von (1728), Introd. p. I2 n.
ZieK uns dir nach, so laufen wir, 43
Zinckeisen, M. Eucharius (1584), 15
Zion hdri die Wachter singen, 140
Zion klagt mit Angst und Sckmerzen, st. ii, 13 ; trans.,
App. II (135) ; melody, 32
Zu dem ist Weisheit und Verstand, 92
Zuletzt lass sie an unserm End', D 3
"Zwey Biicher Einer Neuen Kunstlichen Tabulatur auf
Orgel und Instrument" (Strassburg, 1577), 149
" Zwey schone newe geistliche Lieder" (Niirnberg, <-. 1560),
47
Zwmgt die Saiten in Cythara, 36
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