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Front Page  Titles (by Subject) THE ST MATTHEW PASSION (1728—1729) - Bach's Chorals, vol. 1 The Hymns and Hymn Melodies of the Passions and Oratorios
Return to Title Page for Bach’s Chorals, vol. 1 The Hymns and Hymn Melodies of the “Passions” and OratoriosThe Online Library of LibertyA project of Liberty Fund, Inc.THE ST MATTHEW PASSION (1728—1729) - Johann Sebastian Bach, Bach’s Chorals, vol. 1 The Hymns and Hymn Melodies of the “Passions” and Oratorios [1915]Edition used:Bach’s Chorals. Part I: The Hymns and Hymn Melodies of the “Passions” and Oratorios, by Charles Sanford Terry (Cambridge University Press, 1915-1921). 3 vols. Vol. 1.
Part of: Bach’s Chorals, 3 vols.
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THE ST MATTHEW PASSION (1728—1729)No. 1.O Lamb of God most holy (O Lamm Gottes unschuldig)1 Melody: “O Lamm Gottes unschuldig” Nicolaus Decius 1542  Nicolaus Decius 1545 The melody, “O Lamm Gottes unschuldig,” was composed or adapted by Nicolaus Decius (von Hofe or Hovesch) for his translation of the “Agnus Dei.” Probably Decius was a native of Hof in Upper Franconia. In 1519 he became provost of the Cloister of Steterburg, near Wolfenbuttel, but, abjuring the Roman Catholic Church, was appointed master in the St Katharine and Egidien school at Brunswick in 1522. In 1526(?) he was instituted preacher in the Church of St Nicolas, Stettin. He died at Stettin in 1541, poisoned, it was suspected, by his Roman Catholic enemies. The tune was published, with the hymn, in Anton Corvinus’ Christliche Kirchen-Ordnung (Erfurt, 1542), issued, with a Preface by Elisabeth Duchess of Brunswick-Luneburg, for the use of the Principalities of Calenberg and Gottingen, of which she was Regent; and in Johann Spangenberg’s Kirchengesenge Deudtsch (Magdeburg, 1545). There is another harmonisation of the melody in the Bach Choralgesange, No. 285. The words of the Choral are the first stanza of Decius’ translation of the “Agnus Dei qui tollis peccata mundi.” It was first published in Low German in Geystlyke leder, Rostock, 1531, and in High German in Valentin S. Schumann’s (d. 1545) Geistliche lieder auffs new gebessert und gemehrt, Leipzig, 1539:
English translations of the Hymn are noted in the Dictionary of Hymnology, pp. 31, 1550. Form. The Choral (Soprano ripieno) is an independent strand or ornament of the Double Chorus (Two Orchestras, each 2 Fl., 2 Ob., Strings, Organ, and Continuo). No. 3.O Blessed Jesu, how hast thou offended (Herzliebster Jesu, was hast du verbrochen) Melody: “Herzliebster Jesu” Johann Cruger 1640 The melody, “Herzliebster Jesu,” composed for Heermann’s Hymn by Johann Cruger, first appeared in his Newes vollkomliches Gesangbuch, Berlin, 1640. Cruger was born at Gross-Breesen, near Guben, in Brandenburg, in 1598. He became Cantor of St Nicolas’ Church, Berlin, in 1622, and died in that city in 1662. About 20 of his melodies are still in common use, the most familiar of them being “Nun danket alle Gott.” Bach uses the melody elsewhere in the “St Matthew Passion” (Nos. 25, 55) and twice in the “St John Passion” (Nos. 4, 15). The words of the Choral are the first stanza of the Passiontide Hymn, “Herzliebster Jesu, was hast du verbrochen.” Its author, Johann Heermann, was born at Raudten, Silesia, in 1585. He became deacon of Koben on the Oder in 1611, retired in 1638, and died in 1647. The Hymn was first published in Heermann’s Devoti Musica Cordis. Hauss- und Hertz-Musica, Leipzig, 1630; and, with a melody by Johann Staden (1581-1634), in the latter’s Hertzens Andachten, 1631:
English translations of the Hymn are noted in the Dictionary of Hymnology, pp. 517, 1648. Form Simple (Flutes, Oboes, Strings, Organ, and Continuo). No. 16.My sin it is which binds thee (Ich bin’s, ich sollte bussen) Melody: “O Welt, ich muss dich lassen” Heinrich Isaak 1539 Heinrich Isaak’s melody was first published in Georg Forster’s Ein ausszug guter alter ūn newer Teutscher liedlein, Nurnberg, 1539, but to the secular song, “Innsbruck, ich muss dich lassen.” Of Isaak, Germany’s first great composer, little is known. He was born circ. 1440, perhaps at Prague, was organist of the Medici chapel, Florence, 1477-93, and composer to the Emperor Maximilian I, 1496-1515. He died before 1531. The tune has survived through its association with Johann Hesse’s (1490-1547) Hymn for the Dying, “O Welt, ich muss dich lassen,” first published as a broadsheet at Nurnberg circ. 1555 and in the Nurnberg Hymn-Book, Geystliche Lieder, Psalmen und Lobgesenge. D. Mart. Luther, Nurnberg, 1569. The words of Hesse’s Hymn are a frank conversion of the travelling artisan’s song, “Innsbruck, ich muss dich lassen,” and the melody is styled “Innsbruck” in Hymns Ancient and Modern (No. 86). It was not until sixty years after its publication that Isaak’s melody appeared in association with Hesse’s Hymn. They were first published together in David Wolder’s New Catechismus Gesangbuchlein (Hamburg, 1598 [1597]), and in the Eisleben Gesangbuch, Darinnen Psalmen unnd Geistliche Lieder (Eisleben, 1598). In the latter work the tune virtually assumed the form in which Bach employs it. Bach uses the melody elsewhere in the “St Matthew Passion” (No. 44), and in the “St John Passion” (No. 8). He employs it also in three of the Cantatas: “Meine Seufzer, meine Thranen” (No. 13), for the Second Sunday after Epiphany; “Sie werden euch in den Bann thun” (No. 44), for the Sixth Sunday after Easter; and “In allen meinen Thaten” (No. 97), for general use. In the Choralgesange there are four other harmonisations of the melody (Nos. 289, 290, 291, 298). The words of the Choral are the fifth stanza of Paul Gerhardt’s Passiontide Hymn, “O Welt, sieh’ hier dein Leben,” first published in the 1647 (Berlin) edition of Johann Crüger’s Praxis Pietatis Melica. Paul Gerhardt was born in 1607, at Grafenhainichen, near Wittenberg. At the age of fifty (1657) he became third deacon of the Church of St Nicolas, Berlin, during the reign of the Great Elector. For refusing to obey the Elector’s order to treat with moderation the differences between the Calvinist and Lutheran Churches, Gerhardt was deposed in 1666. Three years later (1669) he became archdeacon at Lubben. He died in 1676. After Luther Gerhardt is the most popular of the German hymn-writers. He was the author of 120 hymns, which were collected and published in ten “Dozens” by Johann G. Ebeling (see the “Christmas Oratorio,” No. 33), under the title Pauli Gerhardi Geistliche Andachten (Berlin, 1666-67):
English translations of the Hymn are noted in the Dictionary of Hymnology, p. 853. Form. Simple (2 Ob., Strings, Organ, and Continuo). No. 21.Receive me, my Redeemer (Erkenne mich, mein Huter) Melody: “Herzlich thut mich verlangen” Hans Leo Hassler 1601 Hans Leo Hassler’s melody was published first in his Lustgarten Neuer Teutscher Gesang, Balletti, Galliarden und Intraden mit 4, 5, 6 und 8 Stimmen, Nurnberg, 1601. It was, however, set there to a secular love song, “Mein G’mut ist mir verwirret von einer Jungfrau zart.” Hassler, who was born at Nurnberg in 1564, studied music at Venice, and was organist and choirmaster at Nurnberg from 1601 to 1608. He was called to Dresden by the Electoral Prince in 1608, and died in his service in 1612. Like so many other secular tunes, Hassler’s was pressed into the service of the Church. In 1613 it was attached to Christoph Knoll’s (1563-1650) Hymn, “Herzlich thut mich verlangen.” (Harmoniae sacrae, Gorlitz, 1613), and forty-three years later, in Johann Cruger’s Praxis Pietatis Melica (Frankfort, 1656), was set to Paul Gerhardt’s “O Haupt voll Blut.” The melody is the principal one in the “St Matthew Passion” and is employed again in Nos. 23, 53, 63, and 72. Bach uses it also in the “Christmas Oratorio” (Nos. 5, 64), and in four of the Cantatas: “Ach Herr, mich armen Sunder” (No. 135), for the Third Sunday after Trinity; “Schau, lieber Gott, wie meine Feind’ ” (No. 153), for the Sunday after the Circumcision; “Sehet, wir geh’n hinauf nach Jerusalem” (No. 159), for Quinquagesima; and “Komm, du susse Todesstunde!” (No. 161), for the Sixteenth Sunday after Trinity. There are other harmonisations of the tune in the Choralgesange, Nos. 157, 158. The words of the Choral are the fifth stanza of Paul Gerhardt’s Passiontide Hymn, “O Haupt voll Blut,” a translation of St Bernard of Clairvaulx’ (?) “Salve caput cruentatum.” It appeared first in Johann Cruger’s Praxis Pietatis Melica, Frankfort, 1656. Other stanzas of the Hymn are used in Nos. 23, 63, and 72 infra:
English translations of the Hymn are noted in the Dictionary of Hymnology, pp. 835, 1681. Form. Simple (2 Fl., 2 Ob., Strings, Organ, and Continuo). No. 23.Here would I stand beside thee (Ich will hier bei dir stehen)For Hans Hassler’s melody, “Herzlich thut mich verlangen,” see No. 21 supra. The words of the Choral are the sixth stanza of Paul Gerhardt’s Passiontide Hymn, “O Haupt voll Blut” (see No. 21):
Form. Simple (2 Ob., Strings, Organ, and Continuo). No. 25.My Saviour, why must all this ill befall thee? (Was ist die Ursach’ aller solcher Plagen?)For Johann Crüger’s melody, “Herzliebster Jesu,” see No. 3 supra. The words of the Choral are the third stanza of Johann Heermann’s Passiontide Hymn, “Herzliebster Jesu, was hast du verbrochen” (see No. 3 supra):
Form. The Choral (S.A.T.B.) is sung (Strings, Organ, and Continuo) in three detached phrases interrupting the Tenor Recitativo (2 Fl., 2 Ob. da caccia, Organ, and Continuo). No. 31.O Father, let thy will be done (Was mein Gott will) Melody: “Il me souffit” Anon. 15293 
 Melody: “Was mein Gott will” Anon. 1572 [1571] The melody, “Was mein Gott will,” is of French origin, and was published first in Pierre Attaignant’s Trente et quatre chansons musicales (Paris, [1529]), to the song “Il me souffit de tous mes maulx.” It was sung in Antwerp in 1540 to Psalm cxl. It was attached to the Hymn, “Was mein Gott will,” in Joachim Magdeburg’s Christliche und TrostlicheTischgesenge, mit Vier Stimmen (Erfurt, 1572 [1571]). It appears to have been sung also to the secular song, “Beschaffens Gluck ist unversaumt.” Magdeburg was born circ. 1525 in the Altmark of Brandenburg. In 1549 he became pastor at Salzwedel in the Altmark, from whence he was banished upon his refusal to accept the Interim of 1552. After a wandering life he was living in Austria in 1583. The year of his death is not known. Bach uses the melody elsewhere in six of the Cantatas “Nimm, was dein ist, und gehe hin” (No. 144), for Septuagesima; “Alles nur nach Gottes Willen” (No. 72), for the Third Sunday after Epiphany; “Was mein Gott will” (No. 111), also for the Third Sunday after Epiphany, “Sie werden aus Saba Alle kommen” (No. 65), for Epiphany; “Ich hab’ in Gottes Herz und Sinn” (No. 92), for Septuagesima; and “Ihr werdet weinen und heulen” (No. 103), for the Third Sunday after Easter. The words of the Choral are the first stanza of Albrecht, Margrave of Brandenburg-Culmbach’s only Hymn, “Was mein Gott will.” He was born in 1522. As a soldier he gained for himself the name, “the German Alcibiades.” Being a member of the Evangelical Union he was driven from Germany in 1554. He was permitted to return, and died in 1557. The Hymn was first published as a broadsheet at Nürnberg circ. 1554, and in Fünff Schone Geistliche Lieder (Dresden, 1556):
English translations of the Hymn are indicated in the Dictionary of Hymnology, p. 37. Form. Simple (2 Fl., 2 Ob., Strings, Organ, and Continuo). No. 35.O man, thy grievous sin bemoan (O Mensch, bewein’ dein’ Sunde gross) Melody: “Es sind doch selig alle” Matthaus Greitter 1525 The melody of “O Mensch, bewein’ ” most probably was composed by Matthaus Greitter. It was first published in the third Part of the Teutsch Kirchēampt mit lobgsengen (Strassburg, 1525; reprinted at Erfurt in 1848), and in Psalmen, gebett und Kirchenubung wie sie zu Strassburg gehalten werden (Strassburg, 1526), a book of 64 pp., containing 23 melodies, of which Greitter and his colleague Wolfgang Dachstein were the editors. In 1525-26 the melody was set to Greitter’s version of Psalm cxix, “Es sind doch selig alle.” In Calvin’s Hymn-Book (Strassburg, 1539) it was adapted to Psalm xxxvi, “En moy le secret pensement.” In the course of the sixteenth century it was sung to the Hymns, “Als Jesus Christus unser Herr” and “Komm, heilger Geist,” and from c. 1584 chiefly to Heyden’s “O Mensch, bewein’.” Greitter was a monk and chorister of Strassburg Cathedral. He became a Protestant and in 1528 was assistant pastor of St Martin’s Church, and later of St Stephen’s Church, Strassburg. His death is dated variously as 1550 and 1552. Dachstein (d. c. 1561) was organist of St Thomas’ Church, Strassburg, in the same period. There is another harmonisation of the melody in the Choralgesange, No. 286. The words of the Choral are the first stanza of Sebald Heyden’s Hymn, “O Mensch, bewein’ dein’ Sunde gross.” Heyden was a native of Nurnberg and rector of the school attached to St Sebald’s Church there. He died in 1561. The Hymn was first published as an 8-page (23 verses) broadsheet at Nurnberg, in 1525:
Form. Choral Fantasia (2 Fl., 2 Ob. d’amore, Strings, Organ, and Continuo). No. 38.How falsely doth the world accuse! (Mir hat die Welt truglich gericht’t) Melody: “In dich hab’ ich gehoffet, Herr” Seth Calvisius 1581 The melody, “In dich hab’ ich gehoffet, Herr,” was composed by Seth Calvisius (Kallwitz). He was born at Gorsleben (Thuringia) in 1556, and became Cantor of St Thomas’ Church, Leipzig, in 1594. He died in 1615. The melody was first published by the Augsburg preacher Gregorius Sunderreitter in his Psalter, Davids Himlische Harpffen von neuwem auffgezogen (Nurnberg, 1581), a revision of his Augsburg Psalterium of 1574. It was there associated with Reissner’s Hymn, and again in Calvisius’s Hymni sacri Latini et germanici (Erfurt, 1594). By 1627 (Schein’s Cantional) the melody had assumed the form, to a great extent, in which Bach uses it. Bach uses the melody elsewhere in the “Christmas Oratorio” (No. 46), and in the Cantatas, “Falsche Welt, dir trau ich nicht” (No. 52), for the Twenty-third Sunday after Trinity; and “Gottes Zeit ist die allerbeste Zeit” (No. 106, the Actus Tragicus). The words of the Choral are the fifth stanza of Adam Reissner’s, or Reusner’s, Hymn (based on Psalm xxxi), “In dich hab’ ich gehoffet, Herr,” which was first published in Form und Ordnung Gaystlicher Gesang und Psalmen, Augsburg, 1533. Adam Reissner was born at Mindelheim in Swabian Bavaria in 1496. He fought in the Italian campaign, 1526-27, and was present at the sack of Rome in the latter year. He died at Mindelheim circ. 1575:
Translations of Reissner’s Hymn are noted on page 955 of the Dictionary of Hymnology. Form. Simple (2 Fl., 2 Ob., Strings, Organ, and Continuo). No. 46.O Lord, who dares to smite thee? (Wer hat dich so geschlagen)For Heinrich Isaak’s melody, “O Welt, ich muss dich lassen,” see No. 16 supra. The words of the Choral are the third stanza of Paul Gerhardt’s Passiontide Hymn, “O Welt, sieh’ hier dein Leben” (see No. 16):
Form. Simple (2 Fl., 2 Ob., Strings, Organ, and Continuo). No. 49.Lamb of God, I fall before thee (Bin ich gleich von dir gewichen) Melody: “Werde munter, mein Gemuthe” Johann Schop 1642 The melody, “Werde munter, mein Gemuthe,” was composed by Johann Schop, or Schopp. The date of his birth is not ascertained. He was a talented instrumentalist, and, after a career at Wolfenbuttel and the Danish Court, became (1621) Director of the Ratsmusik, and later, Town Organist, and organist of the Church of St James, at Hamburg. He died about 1664 or 1665. The tune was first published, with the hymn, in Johann Rist’s Himlischer Lieder mit Melodeien, Luneburg, 1642. Bach has used the melody elsewhere in four of the Cantatas. “Wir mussen durch viel Trubsal in das Reich Gottes eingehen” (No. 146), for the Third Sunday after Easter; “Ich armer Mensch, ich Sündenknecht” (No. 55), for the Twenty-second Sunday after Trinity; “Mein liebster Jesus ist verloren” (No. 154), for the First Sunday after Epiphany; and “Herz und Mund und That und Leben” (No. 147), for the Feast of the Visitation of the B. V. M. There are two other harmonisations of the tune in the Choralgesange, Nos. 363, 364. The words of the Choral are the sixth stanza of Johann Rist’s Evening Hymn, “Werde munter, mein Gemuthe,” which was first published in the third Part of Rist’s Himlischer Lieder, Luneburg, 1642. Rist, a most prolific hymn-writer, was born at Ottensen, near Hamburg, in 1607. He was educated at Rostock and in 1635 became pastor at Wedel, near Hamburg. He died in 1667:
Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 1254. Form. Simple (2 Fl., 2 Ob., Strings, Organ, and Continuo). No. 53.Commit thy way to Jesus (Befiehl du deine Wege)For Hans Hassler’s melody, “Herzlich thut mich verlangen,” see No. 21 supra. The words of the Choral are the first stanza of Paul Gerhardt’s (see No. 16) Hymn, “Befiehl du deine Wege,” which was first published in Johann Crüger’s Praxis Pietatis Melica, Frankfort, 1656. The Hymn is an acrostic, formed by the initial words of the stanzas, on Luther’s version of Psalm xxxvii. 5: “Befiehl dem Herren deine Wege und hoffe auf ihn, er wirds wohl machen”:
Translations of the Hymn into English are noted on p. 125 of the Dictionary of Hymnology. Form. Simple (2 Fl., 2 Ob., Strings, Organ, and Continuo). No. 55.O wondrous love, that suffers this correction! (Wie wunderbarlich ist doch diese Strafe!)For Johann Crüger’s melody, “Herzliebster Jesu,” see No. 3 supra. The words of the Choral are the fourth stanza of Johann Heermann’s Passiontide Hymn, “Herzliebster Jesu” (see No. 3):
Form. Simple (2 Fl., 2 Ob., Strings, Organ, and Continuo) No. 63.O sacred head, surrounded (O Haupt voll Blut)For Hans Hassler’s melody, “Herzlich thut mich verlangen,” see No. 21 supra. The words of the Choral are the first and second stanzas of Paul Gerhardt’s Passiontide Hymn, “O Haupt voll Blut” (see No. 21):
Form. Simple (2 Fl., 2 Ob., Strings, Organ, and Continuo). No. 72.Be near me, Lord, when dying (Wenn ich einmal soll scheiden)For Hans Hassler’s melody, “Herzlich thut mich verlangen,” see No. 21 supra. The words of the Choral are the ninth stanza of Paul Gerhardt’s Passiontide Hymn, “O Haupt voll Blut” (see No. 21):
Form. Simple (2 Fl., 2 Ob., Strings, Organ, and Continuo)2 . |
