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Bach’s Chorals. Part I: 2 The Hymns and Hymn Melodies of the Cantatas and Motetts, by Charles Sanford Terry (Cambridge University Press, 1915-1921). 3 vols. Vol. 2.

Author: Johann Sebastian Bach
Author: Charles Sanford Terry

Part of: Bach’s Chorals, 3 vols.

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THE CANTATAS

Cantata I.

Wie schön leuchtet der Morgenstern1 . Feast of the Annunciation of the B.V.M. (c. 1740)

Melody: “Wie schon leuchtet der Morgenstern”

? Philipp Nicolai 1599

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 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 Choralgesange, 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
Voll Gnad’ und Wahrheit von dem Herrn,
Die susse Wurzel Jesse!
Du Sohn Davids aus Jacobs Stamm,
Mein König und mein Brautigam,
Hast mir mein Herz besessen;
Lieblich, freundlich,
Schön und herrlich, gross und ehrlich,
Reich von Gaben,
Hoch und sehr prachtig erhaben.
B.G. i. 1.

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, Continuo1 ).

(b)

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
Aufnehmen in das Paradeis,
Dess klopf’ ich in die Hande.
Amen! Amen!
Komm 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). Choralgesange, No. 378.

Cantata II.

Ach Gott, vom Himmel sieh darein1 . Second Sunday after Trinity (c. 1740)

Melody: “Ach Gott, vom Himmel sieh’ darein”

Anon. 1524

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,” Etlich 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 movements 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 Buchleyn (Wittenberg, 1524).

The melody occurs also in Cantatas 77 and 153.

(a)

The words of the opening Chorus are the first stanza of Luther’s Hymn:

Ach Gott, vom Himmel sieh darein
Und lass dich’s doch1 erbarmen:
Wie wenig sind der Heil’gen dein,
Verlassen sind wir Armen:
Dein Wort man nicht lässt2 haben wahr,
Der Glaub’ ist auch verloschen gar
Bei allen Menschenkindern.
B.G. i. 55.

English translations of the Hymn are noted in the Dictionary of Hymnology, p. 9.

Form. Choral Motett (2 Ob., 4 Trombones, Strings, Continuo3 ). Erk, No. 149.

(b)

The words of the last movement are the sixth stanza of Luther’s Hymn:

Das wollst du, Gott, bewahren rein
Fur 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 solche4 lose Leute sind
In deinem Volk erhaben.
B.G. i. 72.

Form. Simple (2 Ob., 4 Trombones, Strings, Continuo). Choralgesange, No. 7.

Cantata III.

Ach Gott, wie manches Herzeleid1 . Second Sunday after the Epiphany (c. 1740)

Melody: “O Jesu Christ, mein’s Lebens Licht”

Anon. 1625

Melody: “Hilf mir, Herr Jesu, weil ich leb’ ”

MS. 1602

A Choral Cantata, on the Hymn, “Ach Gott, wie manches Herzeleid,” first published in Martin Moller’s Meditationes Sanctorum Patrum (Görlitz, 1587, 2nd ed.). The Hymn is a free paraphrase of Bernard of Clairvaulx’ “Jesu dulcis memoria,” attributed to Martin Moller.

Moller was born at Kropstädt, near Wittenberg, in 1547, became Cantor at Lowenberg in 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 prescriptive 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 16021 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 composed by Bartholomäus Gesius and appeared first in his Ein ander 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).

(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 trubsalvoll,
Den ich zum Himmel wandern soll.
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, Trombone (col Basso), Strings, Continuo). The cantus is with the Basses.

(b)

The Choral of the second movement (Recitativo) is part of the first and second stanzas of the Hymn:

Wie schwerlich lasst sich Fleisch und Blut
Zwingen zu dem ewigen Gut!
Wo soll ich mich denn wenden hin?
Zu dir, O1 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 (Continuo2 ).

(c)

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). Choralgesange, No. 8.

Cantata IV.

Christ lag in Todesbanden1 . Easter Day (17242 )

Melody: “Christ lag in Todesbanden”

Anon. 1524

A Choral Cantata, on Luther’s Easter Hymn, “Christ lag in Todesbanden1 ,” 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 Handbuchlein (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 (1) appears in every movement of this Cantata.

Bach uses the melody also in Cantata 158. Other harmonisations of the tune are in the Choralgesange, Nos. 38, 39. Organ Works, N. xv. 79; xviii. 16, 19.

(a)

Verse I.
Christ lag in Todesbanden
Fur unser Sünd’ gegeben,
Er1 ist wieder erstanden
Und hat uns bracht das Leben;
Dess wir sollen fröhlich sein,
Gott loben und ihm dankbar2 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 allen Menschenkindern;
Das macht alles unser Sund’,
Kein Unschuld war zu finden.
Davon kam der Tod so bald
Und nahm uber uns Gewalt,
Hielt uns in seinem Reich gefangen.
Hallelujah!
B.G. i. 110.

Form. Soprano and Alto Duetto, the former voice having a somewhat free treatment of the cantus (Cornetto, Trombone I, Continuo).

(c)

Verse III.
Jesus Christus, Gottes Sohn,
An unser Statt ist kommen
Und hat die Sünde weggethan1 ,
Damit dem Tod genommen
All’ 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. Continuo).

(d)

Verse IV.
Es war ein wunderlicher2 Krieg,
Da Tod und Leben rungen,
Das Leben das behielt3 den Sieg
Es hat den Tod verschlungen.
Die Schrift hat verkundiget4 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 (Continuo). The cantus is with the Altos.

(e)

Verse V
Hier ist das rechte Osterlamm,
Davon Gott hat geboten5 ,
Das ist hoch an des6 Kreuzes Stamm
In heisser Lieb’ gebraten,
Das Blut zeichnet unser Thur,
Das halt der Glaub’ dem Tode fur,
Der Wurger kann uns nicht mehr schaden1 .
Hallelujah!
B.G. i. 118.

Form. Bass Unison Choral; a free treatment of the cantus (Violino I and II, Viola I and II, Continuo).

(f)

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 Sunden Nacht ist verschwunden2 .
Hallelujah!
B.G. i. 122.

Form. Soprano and Tenor Duetto, treating the cantus somewhat freely in canon (Continuo).

(g)

Verse VII.
Wir essen und leben wohl
Im rechten Osterfladen;
Der alte Sauerteig nicht soll
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). Choralgesange, No. 413 .

Cantata V.

Wo soll ich fliehen hin. Nineteenth Sunday after Trinity (1735)

Melody: “Venus du und dein Kind”

Anon. 1574

Melody: “Auf meinen lieben Gott”

Anon. 1609

A Choral Cantata, on Johann Heermann’s Lenten Hymn, “Wo soll 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 Hymn, “Wo soll 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 15741 . Bartholomäus 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 schon 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 Confession (Leipzig, 16272 ). Organ Works, N. xvi. 4; xix. 32.

(a)

The words of the opening movement are the first stanza of the Hymn:

Wo soll ich fliehen hin,
Weil ich beschweret bin
Mit viel und grossen Sunden?
Wo soll1 ich Rettung finden?
Wenn alle Welt herkame,
Mein’ Angst sie nicht wegnahme.
B.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, Continuo2 ).

(b)

The words of the concluding Choral are the eleventh stanza of the Hymn:

Fuhr’ 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.G. i. 150.

Form. Simple (Tromba da tirarsi, 2 Ob., Strings, Continuo). Choralgesange, No. 28.

The melody also appears in the Oboe part in the Alto Recitativo, “Mein treuer Heiland” (B.G. i. 142).

Cantata VI.

Bleib’ bei uns, denn es will Abend werden1 . Easter Monday (1736)

Melody: “Danket dem Herrn, heut’ und allzeit”

Anon. 1594

(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 frommer 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 Choralgesange, Nos. 1, 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 (Nürnberg, 1611). 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 Leipzig. He was a very prominent figure in ecclesiastical Germany and died at Leipzig in 1592:

* 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 betrubten Zeit
Verleih’ uns, Herr, Bestandigkeit,
Dass wir dein Wort und Sacrament
Rein behalt’n bis an unser End’.
B.G. i. 168.

Translations of the Hymn are noted in the Dictionary of Hymnology, pp. 1040, 1599.

Form. Soprano Unison Choral (Violoncello piccolo, Continuo)1 .

Melody: “Erhalt’ uns, Herr, bei deinem Wort”

Anon. 1543

(b)

The melody, “Erhalt’ uns, Herr, bei deinem Wort,” which Bach uses in the concluding Choral of the Cantata, was first published in Joseph Klug’s Geistliche Lieder zu Wittemberg (Wittenberg, 1543). It bears a close resemblance to the melody of Luther’s Hymn, “Verleih’ uns Frieden gnädiglich” (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 movement 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 heiligen Kirchen, den Babst und Turcken.” 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.

English translations of the Hymn are noted in the Dictionary of Hymnology, No. 353.

Form. Simple (2 Ob., Oboe da caccia, Strings, Continuo). Choralgesange, 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

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 woll’ uns Gott genadig sein,” which Bach uses in the first and last movements, was published 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 Choralgesange, No. 43. Organ Works, N. xvi. 62, 67.

(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 erfüllen;
Da wollt’ er stiften uns ein Bad,
Zu waschen uns von Sunden,
Ersaufen auch den bittern Tod
Durch sein selbst Blut und Wunden;
Es galt ein neues Leben.
B.G. i. 179.

English translations are noted in the Dictionary of Hymnology, p. 226.

Form. Choral Fantasia (2 Ob. d’amore, Violino concertante, Strings, Continuo). The cantus is with the Tenor1 .

(b)

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’ allein1 die Kraft versteht
Des Blutes Jesu Christi;
Und ist fur ihn ein’ rothe Fluth
Von Christi Blut gefärbet,
Die allen Schaden heilet gut2
Von Adam her geerbet,
Auch von uns selbst begangen.
B.G. i. 210.

Form. Simple (2 Ob. d’amore, Strings, Continuo). Choralgesange, No. 44.

Cantata VIII.

Liebster Gott, wann werd’ ich sterben3 ? Sixteenth Sunday after Trinity (c. 1725)

Melody: “Liebster Gott, wann werd’ ich sterben?”

Daniel Vetter 1713

A Choral Cantata1 , on Caspar Neumann’s Hymn, “Liebster Gott, wann werd’ ich sterben?” published in the ninth edition of the Breslau Vollstandige 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 Neumann’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), from Georg Christian Schemelli’s Musicalisches Gesang-Buch (Leipzig, 1736), is in B.G. xxxix. “Arien und Lieder,” No. 47.

(a)

The words of the opening movement are the first stanza of Neumann’s Hymn:

* Liebster Gott, wann werd’ ich sterben?
Meine Zeit läuft immer hin,
Und des alten Adams Erben,
Unter denen ich auch bin,
Haben dies zum Vatertheil,
Dass sie eine kleine Weil
Arm und elend sein auf Erden.
Und dann selber Erde werden.
B.G. i. 213.

Form. Choral Fantasia (Corno (con Soprano), Flauto, 2 Ob. d’amore, Strings, Continuo).

(b)

The words of the concluding Choral are the fifth stanza of Neumann’s Hymn:

* Herrscher uber 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). Choralgesänge, No. 227.

Cantata IX.

Es ist das Heil uns kommen her. Sixth Sunday after Trinity (? 1731)

Melody: “Es ist das Heil uns kommen her”

Anon. 1524

A Choral Cantata1 , 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” (supra), 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.

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 1524. 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” (Choralgesange, No. 89). Organ Works, N. xv. 109. There is traditional usage (1535 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 Gute;
Die Werk’ die helfen nimmermehr,
Sie mögen nicht behuten;
Der Glaub’ sieht Jesum Christum an;
Der hat g’nug fur uns all’ gethan,
Er ist der Mittler worden.
B.G. i. 245.

English translations of the Hymn are noted in the Dictionary of Hymnology, p. 1074.

Form. Choral Fantasia (Flauto, Oboe d’amore, Strings, Continuo).

(b)

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 dir1 gewisser sein,
Und ob dein Herz2 sprach lauter Nein,
So lass doch dir nicht grauen.
B.G. i. 274.

Form. Simple (Flauto, Oboe d’amore, Strings, Continuo). Choralgesange, No. 87.

Cantata X.

Meine Seel’ erhebt den Herren3 . 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 Choralgesange, Nos. 120, 121. Organ Works, N. xvi. 8; xviii. 75.

(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 Väter, 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. Simple (Tromba, 2 Ob., Strings, Continuo). Choralgesange, 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 .

Cantata XI.

Lobet Gott in seinen Reichen1 . Ascension Day (17352 )

Melody: “Ermuntre dich, mein schwacher Geist”

Johann Schop 1641

(a)

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 Himlischer Lieder mit...Melodeien (Luneburg, 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. Invariably Bach follows Johann Cruger’s remodelling of 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 Lebensfurst, 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 mussen für und fur
Dir aufzuwarten kommen.
Die Fursten stehn auch auf der Bahn,
Und sind dir willig unterthan;
Luft, Wasser, Feu’r und Erden
Muss dir zu Dienste werden.
B.G. ii. 32.

*Form. Simple (2 Fl., 2 Ob., Strings, Continuo). Choralgesange, No. 82.

Melody: “Von Gott will ich nicht lassen”

Anon. 1572 [1571]

Melody. “Helft mir Gott’s Gute preisen”

Wolfgang Figulus 1575 [1569]1

(b)

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 Güte 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, 1572 [1571]) and by Wolfgang Figulus (two melodies) in his Weynacht Liedlein (Frankfort a. Oder, 1575 [1569])2 .

Bach uses the melody “Von Gott” with variations which have earlier sanction. It appears in Cantatas 73, 107. It also occurs in Cantata D 4, “Lobt ihn mit Herz und Munde,” attributed to Bach, and there are harmonisations of the tune in the Choralgesange, Nos. 324, 325, 326. Organ Works, N. xvii. 43.

Figulus’ second melody (supra) belongs exclusively 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 Cantatas 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, 1714), to the melody, “Von Gott will ich nicht lassen”:

Wann soll es doch geschehen,
Wann kömmt die liebe Zeit,
Dass ich ihn werde1 sehen
In seiner Herrlichkeit?
Du Tag, wann wirst du sein,
Dass wir den Heiland grussen,
Dass wir den Heiland kussen?
Komm, stelle dich doch ein!
B.G. ii. 40.

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, Zagen1 . Third Sunday after Easter (“Jubilate”) (1724 or 1725)

Melody: “Was Gott thut, das ist wohlgethan”

Anon. 1690

The concluding Choral is set to the melody, “Was Gott thut, das ist wohlgethan,” published in the Nurnbergisches Gesang-Buch (Nürnberg, 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.

The authorship of the tune has been attributed to Severus Gastorius of Jena, for whom the Hymn was written. With greater probability it has been assigned to Johann Pachelbel, who was born in 1653 at Nürnberg, and held important positions as organist at Eisenach, Erfurt (1678-90), Stuttgart, Gotha and Nürnberg. 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 geziehret 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 Melodie,” 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 Trauungen” (Choralgesänge, 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.

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 1675 at Jena for his sick friend, Severus Gastorius, Cantor there. It was published in Das Hannoverische ordentliche Vollständige 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 o Tromba,” Fagotto, Strings, Continuo). Choralgesänge, No. 340.

Cantata XIII.

Meine Seufzer, meine Thranen. Second Sunday after the Epiphany (c. 1736)

Melody: “Ainsi qu’on oit le cerf bruire”

Louis Bourgeois 1542

(a)

The melody of the third movement is known as “Freu’ dich sehr, O meine Seele,” from its association with that Hymn. The latter, however, has its proper melody, first published, with the Hymn, in Christopher Demantius’ Threnodiae, Das ist: Ausserlesene Trostreiche Begrabnüss Gesange (Freiberg, 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, 1551), 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.”

Bourgeois, born in Paris early in the 16th 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 fur und fur
Grausam zurnen uber mir?
Kann und will er sich des1 Armen
Itzt nicht wie vorhin erbarmen?
B.G. ii. 87.

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

(b)

The melody of the concluding Choral is Heinrich Isaak’s “O Welt, ich muss dich lassen,” first published in Georg Forster’s Ein ausszug guter alter ūn newer Teutscher liedlein (Nürnberg, 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 15981 .

Bach uses the melody in the “St Matthew Passion,” Nos. 16 and 44; in the “St John Passion,” No. 8; and in Cantatas 44 and 97. There are four other harmonisations of the melody in Choralgesänge, 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 allen meinen Thaten,” first published in his Teutsche Poemata (Lübeck, 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 1631, 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 erschaffen1 hat.
Es gehe wie es gehe,
Dein Vater in der Hohe
Der weiss zu allen Sachen Rath2 .
B.G. ii. 98.

English translations of the Hymn are noted in the Dictionary of Hymnology, p. 378.

Form. Simple (Flauti, Oboe, Strings, Continuo). Choralgesange, 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

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.

(a)

The words of the opening movement are the first stanza of Luther’s Hymn:

War’ Gott nicht mit uns diese Zeit,
So soll Israel sagen,
War’ Gott nicht mit uns diese Zeit,
Wir hätten mussen1 verzagen,
Die so ein armes Hauflein sind,
Veracht von so viel Menschenkind,
Die an uns setzen alle.
B.G. ii. 101.

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, Continuo)2 .

(b)

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 mögt fangen.
Wie ein Vogel des Stricks kommt ab,
Ist 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, Continuo). Choralgesange, No. 330.

Cantata XV.

Denn du wirst meine Seele nicht in der Hölle lassen. Easter Day (1704)

Melody: “Wenn mein Stundlein vorhanden ist”

Nicolaus Herman 1569

The melody of the Choral sung in the last thirty bars of the concluding movement is Nicolaus Herman’s “Wenn mein Stündlein vorhanden ist,” first published, with the Hymn, in Johann Wolff’s Kirche Gesang, Aus dem Wittenbergischen, und allen andern den besten Gesangbuchern (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 died there in 1561. 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 Choralgesange, Nos. 353, 354, 355. The concluding line of Bach’s text is a variation of the original melody as old as 1584 (M. Eucharius Zinckeisen’s Kirchen Gesäng, 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 Stündlein vorhanden ist,” first published in his Die Historien von der Sindfludt” (Wittenberg, 1562 [1560]):

Weil du vom Tod’ erstanden bist,
Werd’ ich im Grab’ nicht bleiben,
Mein höchster Trost dein’ Auffahrt ist,
Tod’sfurcht kann sie 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. 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.

Herr Gott dich loben wir. Feast of the Circumcision (New Year’s Day) (? 1724)

Melody: “Herr Gott dich loben wir”

Anon. 1535

(a)

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 (Wittenberg, 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 Choralgesange, 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 “Te Deum,” first published in Joseph Klug’s Geistliche Lieder (Wittenberg, 1535 [1529]):

Herr Gott dich loben wir,
Herr Gott wir danken dir!
Dich, Gott Vater1 in Ewigkeit,
Ehret die Welt weit und breit.
B.G. ii. 175.

English translations of Luther’s version are noted in the Dictionary of Hymnology, p. 1134.

Form. Choral Fantasia (2 Ob., Corno da caccia, Strings, Continuo).

(b)

For the melody of the concluding Choral, “Helft mir Gott’s Güte preisen” (second version), see Cantata 11.

The words of the movement are the sixth stanza of Paul Eber’s Hymn for the New Year, “Helft mir Gott’s Gute preisen,” first published in Eichorn’s Geistliche Lieder (Frankfort a. Oder, c. 1580).

Eber was born at Kitzingen, Bavaria, in 1511. 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 Wittenberg School. He died in 1569. The Hymn is an acrostic upon the name “Helena,” borne by his wife and daughter, spelt by the initial letters of the six stanzas:

All’ solch’ dein Gut’ wir preisen,
Vater in’s Himmels Thron,
Die du uns thust beweisen
Durch Jesum1 deinen Sohn,
Und bitten ferner2 dich,
Gieb uns ein friedlich3 Jahre,
Vor alles Leid bewahre
Und nahr’ uns mildiglich.
B.G. ii. 198.

An English translation is noted in the Dictionary of Hymnology, p. 319.

Form. Simple (2 Ob., Corno da caccia, Strings, Continuo). Choralgesange, No. 125.

Cantata XVII.

Wer Dank opfert, der preiset mich. Fourteenth Sunday after Trinity (c. 1737)

Melody. “Nun lob’, mein’ Seel’, den Herren”

? Johann Kugelmann 1540

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 Augsburg. In 1519 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 Konigsberg. He died in 1542.

Bach uses the melody also in Cantatas 28, 29, 51, 167, in Motett 1, “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 Choralgesange, Nos. 269, 270. The variations of the original melody which appear in Bach’s versions are found in texts within sixty years of the publication of the tune in 1540.

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 Nürnberg 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 Reformation 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 Hohenzollern, High Master of the Teutonic Order and first Duke of Prussia (d. 1568):

Wie sich ein Vat’r1 erbarmet
Üb’r seine junge Kindlein klein:
So thut der Herr uns Armen,
So wir ihn kindlich fürchten rein.
Er kennt das arm’ Gemächte,
Er2 weiss, wir sind nur Staub.
Gleich wie das Gras vom Reche,
Ein’ Blum’ und fallend Laub:
Der Wind nur druber wehet,
So ist es nimmer da:
Also der Mensch vergehet,
Sein End’, das ist ihm nah
B.G. ii. 225.

Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 451.

Form. Simple (2 Ob., Strings, Continuo). Choralgesange, No. 271.

Cantata XVIII.

Gleich wie der Regen und Schnee vom Himmel fallt. Sexagesima Sunday (1713 or 1714)

Melody: “Durch Adams Fall ist ganz verderbt”

Anon. 1535

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 wöll 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 Geystliche gesangk Buchleyn (Wittenberg, 1524), with two melodies, probably by Walther himself.

Lazarus Spengler was born at Nürnberg in 1479. He made Luther’s acquaintance when the Reformer visited the city in 1518 on his way to Augsburg, and became a leader of the Reformation in Nürnberg, where he was successively Raths Syndikus and Rathsherr. He died in 1534:

Ich bitt’ O Herr, aus Herzens Grund,
Du wollst nicht von mir nehmen
Dein heil’ges Wort aus meinem Mund;
So wird mich nicht beschamen
Mein’ Sund und Schuld,
Denn in dein Huld
Setz’ ich all mein Vertrauen.
Wer sich nur fest
Darauf verlässt,
Der wird1 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, Continuo). Choralgesänge, No. 73.

Bach introduces the melody into the accompaniment 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).

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 Cantional:

Lass’ dein’ Engel mit mir fahren
Auf Elias Wagen roth,
Und mein’ Seele wohl bewahren,
Wie1 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 ihr2 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., Taille3 , Strings, Continuo). Choralgesange, 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.

Cantata XX.

O Ewigkeit, du Donnerwort. First Sunday after Trinity (c. 1725)

Melody: “Wach auf, mein Geist”

Johann Schop 1642

Melody: “O Ewigkeit, du Donnerwort”

Johann Cruger’s reconstruction 1653

A Choral Cantata1 , on Johann Rist’s Hymn, “O Ewigkeit, du Donnerwort,” first published in the fourth Part of his Himlischer Lieder (Luneburg, 1642).

The melody which Bach uses in the opening Chorus, and in the concluding Chorals of Parts I and II, was composed by Johann Schop for Johann 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 Crüger’s reconstruction of “Wach auf,” which Bach follows almost exactly, was published, with the Hymn “O Ewigkeit, du Donnerwort,” in his Praxis Pietatis Melica (Berlin, 1653), and also in Christoph Runge’s D. M. Luthers Und anderer vornehmen geistreichen und gelehrten Manner Geistliche Lieder und Psalmen (Berlin, 1653).

Bach uses the melody in Cantata 60. Other harmonisations of it are in Anna Magdalena Bach’s Notenbuchlein, and Choralgesange, No. 275.

(a)

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 wende1 ;
Mein ganz erschrocknes Herz erbebt,
Dass mir die Zung’ am Gaumen klebt.
B.G. ii. 293.

English translations of the Hymn are noted in the Dictionary of Hymnology, p. 828.

Form. Choral Fantasia (3 Ob., Tromba da tirarsi, Strings, Continuo).

(b)

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 uber alle Wolken schwebt,
Wird solche Marter währen:
Es wird sie plagen Kalt’ und Hitz’,
Angst, Hunger, Schrecken, Feu’r und Blitz,
Und sie doch nicht1 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, Continuo). Choralgesänge, No. 276.

(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 sonder 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, Continuo). Choralgesänge, No. 276.

Cantata XXI.

Ich hatte viel Bekümmerniss1 . For General Use2 (1714)

Melody: “Wer nur den lieben Gott lasst walten”

Georg Neumark 1657

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 lässt walten,” published together in his Fortgepflantzter Musikalisch-Poetischer Lustwald (Jena, 1657).

Georg Neumark was born at Langensalza in Thuringia in 1621. 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.

Bach uses the melody also in Cantatas 27, 84, 88, 93, 166, 179, and 197. There is another harmonisation of the tune in the Choralgesänge, 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 grösser durch die Traurigkeit.
Denk’ nicht in deiner Drangsalshitze,
Dass du von Gott verlassen seist,
Und dass der Gott1 im Schoosse sitze,
Der sich mit stetem Glücke speist.
Die Folgezeit verändert 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 Trombones, Strings, Organ, Continuo). The cantus is with the Tenor.

Cantata XXII.

Jesus nahm zu sich die Zwölfe. Quinquagesima (“Esto Mihi”) Sunday (1723)

Melody: “Herr Christ, der einig’ Gott’s Sohn”

Anon. 1524

Melody: “Ich hort ein Fraulein klagen”

Anon. 1549

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 hört ein Fräulein klagen,” published in 1549. Presumably 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 Elisabethe 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:

Ertödt’ uns durch dein’ Gute,
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’danken1 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.

Cantata XXIII.

Du wahrer Gott und Davids Sohn1 . Quinquagesima (“Esto Mihi”) Sunday (1724)2

Melody: “Christe, du Lamm Gottes”

Anon. 1557

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 (Nürnberg, 1557), and obviously have a pre-Reformation association. The movement originally was the concluding 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 Continuo accompaniment, for the “Kyrie Eleison.” Organ Works, N. xv. 61.

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 trägst die Sünd’ der Welt,
Erbarm’ dich unser!
Christe, du Lamm Gottes,
Der du tragst die Sund’ der Welt,
Erbarm’ dich unser!
Christe, du Lamm Gottes,
Der du tragst die Sünd’ 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 (Cornetto, 3 Trombones, 2 Ob., Strings, Continuo). Neither the Choralgesange nor Erk prints the melody.

Bach introduces the melody into the accompaniment of the Tenor Recitativo, “Ach, gehe nicht vorüber,” 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).

Cantata XXIV.

Ein ungefarbt Gemuthe. Fourth Sunday after Trinity (1723)

Melody: “O Gott, du frommer Gott”

Anon. 1693

In the concluding Choral Bach uses the melody, “O Gott, du frommer Gott,” published, in association with Johann Heermann’s Hymn, in the Neuvermehrtes und 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- und Artzneigarten 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).

The above melody is also in Cantatas 71 and 164. There is a four-part setting of it in the Choralgesange, 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, “O 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 aller1 Gaben,
Ohn’ den nichts ist, was ist,
Von dem wir Alles 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, Continuo).

Cantata XXV.

Es ist nichts Gesundes an meinem Leibe1 . 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
Ruhmen deine starke Hand,
Dass du meine Plag’ und Klage
Hast so herzlich abgewandt.
Nicht nur in der Sterblichkeit
Soll dein Ruhm sein ausgebreit’t:
Ich will’s auch hernach erweisen,
Und dort ewiglich dich preisen.
B.G. v. (i) 188.

English translations of the Hymn are noted in the Dictionary of Hymnology, p. 505.

Form. Simple (Cornetto, 3 Trombones, 3 Fl., 2 Ob., Strings, Continuo). Choralgesänge, No. 101.

In the opening Chorus of the Cantata (B.G. v. (i) 158) Bach introduces the melody of the penitential hymn, “Ach Herr, mich armen Sünder.” The tune is more familiar as “Herzlich thut mich verlangen” (see Cantata 135)2 .

Cantata XXVI.

Ach wie Flüchtig. Twenty-fourth Sunday after Trinity (c. 1740)

Melody: “Ach wie fluchtig”

Michael Franck 1652

Melody: “Ach wie fluchtig”

Johann Cruger’s (?) reconstruction 1661

A Choral Cantata, on Michael Franck’s funerary Hymn, “Ach wie flüchtig,” first published, with the melody, in Franck’s Die Eitelheit, Falschheit und Unbeständigkeit 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.

The melody, which Bach uses in the opening and concluding movements of the Cantata, was composed by Franck and published, in four-part harmony, with the Hymn, in 1652. The Hymn was republished in the 1661 (Berlin) edition of Crüger’s Praxis Pietatis Melica and in the Brunswick Neuvermehrtes vollständiges Gesangbuch (Brunswick, 1661), with a reconstruction of Franck’s melody which may be attributed to Johann Crüger. 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
Ist der Menschen Leben!
Wie ein Nebel bald entstehet,
Und auch wieder bald vergehet,
So ist unser Leben, sehet!
B.G. v. (i) 191.

Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 387.

Form. Choral Fantasia (Flauto, 3 Ob., Corno, Strings, Organ, Continuo)1 .

(b)

The words of the concluding Choral are the thirteenth stanza of Franck’s Hymn:

Ach wie flüchtig,
Ach wie nichtig
Sind der Menschen Sachen!
Alles, Alles, was wir sehen,
Dass muss fallen und vergehen;
Wer Gott fürcht’t, bleibt1 ewig stehen.
B.G. v. (i) 216.

Form. Simple (Flauto, 3 Ob., Corno, Strings, Organ, Continuo). Choralgesange, No. 11.

Cantata XXVII.

Wer weiss, wie nahe mir mein Ende2 . Sixteenth Sunday after Trinity (1731)

(a)

For the melody of the opening Chorus, “Wer nur den lieben Gott lässt 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 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, 1688) and in M. Joh. Heinrich Haveckers . . . 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 meine 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, Continuo)1 .

Melody. “Welt, ade! ich bin dein mude”

Johann Rosenmuller 1682

pian. adagio

forte allegro

(b)

The melody of the concluding Choral was composed by Johann Rosenmuller for the Hymn, “Welt, ade! ich bin dein müde” (1649).

Rosenmüller 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 1651 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 Wolfenbüttel, 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]1 ). Vopelius was born in 1645, at Herwigsdorf, near Lobau, became Cantor of St Nicolas’, Leipzig, in 1675, and died in 1715.

Bach uses the melody also in Cantata 158.

The words of the concluding Choral are the first stanza of Johann Georg Albinus’ funerary Hymn, “Welt, ade! ich bin dein müde.” 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-Vollstandigers Gesang-Buch (Bayreuth, 1668) and Geistliches Neuvermehrtes Gesang-Buch (Schleusingen, 1672):

Welt, ade! ich bin dein müde,
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., Corno, Strings, Continuo). Choralgesänge, No. 350. Erk, No. 134, prints Vopelius’ 1682 version1 .

Cantata XXVIII.

Gottlob! nun geht das Jahr zu Ende1 . Sunday after Christmas (c. 17252 )

(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 Hymn, “Nun lob’, mein’ Seel’, den Herren” (see Cantata 17):

Nun lob’, mein’ Seel’, den Herren,
Was3 in mir ist, den Namen sein!
Sein Wohlthat thut er mehren,
Vergiss es nicht, O Herze mein.
Hat dir dein’ Sund’ vergeben,
Und heilt dein’ Schwachheit gross,
Errett’t dein armes Leben,
Nimmt dich in seinen Schoos:
Mit reichem Trost beschuttet,
Verjungt dem Adler gleich.
Der Kön’g schafft Recht, behutet
Die leiden in seinem Reich.
B.G. v. (i) 258.

Form. Choral Motett (Cornetto, 3 Trombones, 2 Ob., Strings, Continuo). Erk, No. 3194 .

(b)

For the melody of the concluding Choral, “Helft mir Gott’s Güte preisen,” see Cantata 11.

The words of the concluding Choral are the sixth stanza of Paul Eber’s New Year’s Hymn, “Helft mir Gott’s Güte preisen” (see Cantata 16):

All’ solch’ dein’ Gut’ wir preisen,
Vater in’s Himmelsthron,
Die du uns thust beweisen,
Durch Christum, deinen Sohn,
Und bitten ferner1 dich:
Gieb uns ein friedlich’s2 Jahre,
Fur allem Leid bewahre
Und nahr’ uns mildiglich.
B.G. v. (i) 272.

Form. Simple (Cornetto, 3 Trombones, 2 Ob., Taille3 , Strings, Continuo). Choralgesänge, No. 124.

Cantata XXIX.

Wir danken dir, Gott, wir danken dir. For the Inauguration of the Town Council, Leipzig (1731)

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). The stanza is an addendum to the four published in 1540 and appeared posthumously in a broadsheet reprint of the Hymn at Nürnberg c. 1555:

* Sei Lob und Preis mit Ehren,
Gott Vater, Sohn, heiligem Geist!
Der woll’ in uns vermehren,
Was er uns aus Gnaden verheisst,
Dass wir ihm fest vertrauen,
Gänzlich verlass’n auf ihn,
Von Herzen auf ihn bauen,
Dass uns’r Herz, Muth und Sinn
Ihm tröstlich soll’n anhangen;
Drauf singen wir zur Stund’:
Amen! wir werden’s erlangen,
Glaub’n wir aus Herzens Grund.
B.G. v. (i) 316.

Form. Embellished (3 Trombe, Timpani, 2 Ob., Strings, Organ, Continuo). Choralgesange, No. 272.

Cantata XXX.

Freue dich, erloste Schaar1 . Feast of St John Baptist (17382 )

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 for St John Baptist’s Day, “Trostet, trostet, meine Lieben,” first published in his Geistliche Singe-Kunst (Leipzig, 1671), to Bourgeois’ melody (supra).

Olearius was born at Halle in 1611. 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 hören
In der Wusten, weit und breit,
Alle Menschen zu bekehren:
Macht dem Herrn den Weg bereit,
Machet Gott ein’ eb’ne Bahn,
Alle Welt soll heben an,
Alle Thäler zu erhöhen,
Dass die Berge niedrig stehen.
B.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, Continuo). Choralgesänge, No. 103.

Cantata XXXI.

Der Himmel lacht, die Erde jubiliret. Easter Day (17151 )

For the words and melody of the concluding Choral, Nicolaus Herman’s Hymn, “Wenn mein Stündlein vorhanden ist,” see Cantata 15.

The words are the fifth stanza of the Hymn, which was posthumously added to its original four stanzas in Drei schone geistliche Lieder (Coln, 1574)2 . It is not by Herman:

So fahr’ ich hin3 zu Jesu Christ,
Mein’ Arm’4 thu’ ich ausstrecken;
So schlaf’ ich ein und ruhe fein,
Kein Mensch kann mich aufwecken:
Denn Jesus Christus, Gottes Sohn5 ,
Der wird die Himmelsthur6 aufthun,
Mich führ’n zum7 ew’gen Leben.
B.G. vii. 50.

Form. Embellished (Tromba, 3 Ob., Taille8 , Fagotto, Strings, Continuo). Choralgesänge, 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).

Cantata XXXII.

Liebster Jesu, mein Verlangen1 . First Sunday after the Epiphany (c. 1740)

For the melody of the concluding Choral, Louis Bourgeois’ “Ainsi qu’on oit,” see Cantata 13.

The words of the concluding Choral are the twelfth stanza of Paul Gerhardt’s Lenten Hymn, “Weg, mein Herz, mit den Gedanken,” first published in Johann Crüger’s Praxis Pietatis Melica (Berlin, 1647), to another melody (“Zion klagt mit Angst und Schmerzen”):

Mein Gott, offne mir die Pforten
Solcher Gnad’ und Gutigkeit,
Lass mich allzeit aller Orten
Schmecken deine Sussigkeit!
Liebe mich, und treib’ mich an,
Dass ich dich, so gut ich kann,
Wiederum umfang’ und liebe,
Und ja nun nicht mehr betrube.
B.G. vii. 80.

Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 412.

Form. Simple (Oboe, Strings, Continuo). Choralgesange, No. 102.

Cantata XXXIII.

Allein zu dir, Herr Jesu Christ. Thirteenth Sunday after Trinity (c. 1740)

Melody: “Allein zu dir, Herr Jesu Christ”

Anon. c. 1541

Melody: “Allein zu dir, Herr Jesu Christ”

Anon. 1545*

A Choral Cantata, on Johannes Schneesing’s penitential Hymn, “Allein zu dir, Herr Jesu Christ,” which was published as a Nürnberg broadsheet 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 1567. 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 1545 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 Choralgesänge, No. 15.

(a)

The words of the opening movement are the first stanza of Schneesing’s Hymn:

Allein zu dir, Herr Jesu Christ,
Mein’ Hoffnung steht auf Erden;
Ich weiss, dass du mein Tröster bist,
Kein Trost mag mir sonst werden.
Von Anbeginn ist nichts erkor’n,
Auf Erden war1 kein Mensch gebor’n,
Der mir aus Nöthen helfen kann,
Ich ruf’ dich an2 ,
Zu dem ich mein3 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).

(b)

The words of the concluding Choral are the fourth stanza of Schneesing’s Hymn:

Ehr’ sei Gott in dem hochsten Thron,
Dem Vater aller Güte,
Und Jesum Christ, sein’m liebsten4 Sohn,
Der uns allzeit behute5 ,
Und6 Gott, dem heiligen Geiste,
Der uns sein’ Hülf’ allzeit leiste,
Damit wir ihm gefällig sein,
Hier in dieser Zeit
Und folgends in der7 Ewigkeit.
B.G. vii. 114.

Form. Simple (2 Ob., Strings, Organ, Continuo). Choralgesänge, No. 16.

Cantata XXXVI.

Schwingt freudig euch empor. First Sunday in Advent (c. 17301 )

Melody: “Nun komm, der Heiden Heiland”

Anon. 1524

Melody: “Veni Redemptor gentium”

Anon. 15312

(a)

For the second movement of Part I 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 Enchiridion (1524), with the melody, a simplification of that of “Veni Redemptor gentium.” Both Hymn and melody are also in Walther’s Geystliche gesangk Buchleyn (1524), and his assistance 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.G. vii. 236.

Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 1212.

Form. Duetto for Soprano and Alto (2 Ob. d’amore, Organ, Continuo), treating the melody in canon freely.

(b)

The words and melody of the concluding Choral of Part I are Philipp Nicolai’s “Wie schon leuchtet der Morgenstern” (see Cantata 1). The words are the sixth stanza of the Hymn:

Zwingt die Saiten in Cythara
Und lasst die susse Musica
Ganz freudenreich erschallen,
Dass ich moge mit Jesulein,
Dem wunderschonen Braut’gam mein,
In steter Liebe wallen.
Singet, springet,
Jubiliret, triumphiret,
Dankt dem Herren!
Gross ist der König der Ehren.
B.G. vii. 243.

Form. Simple (2 Ob. d’amore, Strings, Organ, Continuo). Choralgesänge, No. 377.

(c)

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,
Fuhr’ 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’thon1 ,
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). Choralgesange, No. 264.

Cantata XXXVII.

Wer da glaubet und getauft wird. Ascension Day (c. 1727)

(a)

The melody and Hymn of the third movement are Philipp Nicolai’s “Wie schön leuchtet der Morgenstern” (see Cantata 1). 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 sich1 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 soll mein Herz ihn loben.
B.G. vii. 272.

Form. Soprano and Alto Duetto (Continuo) in canon on the melody.

Melody: “Lob’ Gott getrost mit Singen”

Anon. 1544

Melody: “Ich dank’ dir, lieber Herre”

Reconstruction 1662

(b)

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 Nürnberg, 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 1544 Johann Roh or Horn attached it to his Hymn, “Lob’ Gott getrost mit Singen,” in his Ein Gesangbuch der Bruder inn Behemen und Merherrn” (Nürnberg, 1544). In a simplified form the tune was attached to Kolross’ Hymn in the 1662 (Frankfort) Praxis Pietatis Melica.

The melody does not occur elsewhere in the Cantatas or Oratorios. Choralgesange, Nos. 176, 177.

The words of the concluding Choral are the fourth stanza of the Hymn:

Den Glauben mir verleihe
An dein’n Sohn, Jesum Christ,
Mein’ Sund’ mir auch verzeihe
Allhier zu dieser Frist.
Du wirst mir’s nicht versagen,
Was1 du verheissen hast,
Dass er mein’ Sünd’ thu’ tragen
Und los’ 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, Continuo). Choralgesange, No. 178.

Cantata XXXVIII.

Aus tiefer Noth schrei ich zu dir2 . Twenty-first Sunday after Trinity (c. 1740)

Melody: “Aus tiefer Noth schrei ich zu dir”

? Martin Luther 1524

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 Buchleyn (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 130th,” 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.

(a)

The words of the opening movement are the first stanza of Luther’s Hymn:

Aus tiefer Noth schrei ich zu dir,
Herr Gott, erhör’ mein Rufen!
Dein’ gnadig’ Ohr’ neig her zu mir1 ,
Und meiner Bitt’ sie offne.
Denn so du willt das sehen an,
Was Sund’ 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.

Form. Choral Motett (2 Ob., 4 Trombones, Strings, Continuo). Erk, No. 150.

(b)

The words of the concluding Choral are the fifth stanza of Luther’s Hymn:

Ob bei uns ist der Sunden viel,
Bei Gott ist viel mehr Gnade,
Sein’ Hand zu helfen hat kein Ziel,
Wie gross auch ser der Schade.
Er ist allein der gute Hirt,
Der Israel erlosen wird
Aus seinen Sunden allen.
B.G. vii. 300.

Form. Simple (4 Trombones, 2 Ob., Strings, Continuo). Choralgesange, 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 Brod1 . 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, lasst euch den Herren lehren.” The Hymn was first published, to Bourgeois’ melody, in the New Ordentlich Gesangbuch (Brunswick, 1648), of which Denicke and Justus Gesenius (1601-73) were the editors.

Denicke was born at Zittau in 1603. In 1629 he became tutor to the sons of Duke Georg of Brunswick-Lüneburg. 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 fur sie Gott.
Die behulflich sind mit Rath,
Auch, so möglich, mit der That,
Werden wieder Hulf’ 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). Choralgesange, No. 104.

Cantata XL.

Dazu ist erschienen der Sohn Gottes1 . Feast of St Stephen (Christmas) (c. 1723)

Melody: “Wir Christenleut’ ”

Caspar Fuger the younger 1593

(a)

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 attributed to Caspar Fuger, the younger1 , and was first published in Martin Fritzsch’s Gesangbuch. Darinnen Christliche Psalmen unnd Kirchen Lieder (Dresden, 1593).

Bach uses the melody also in Cantatas 110 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 schöne Newe Geistliche Gesenge (1592). The words are the third stanza of the Hymn:

Die Sund’ macht Leid;
Christus bringt Freud’,
Weil er zu Trost2 in diese Welt gekommen3 .
Mit uns ist Gott
Nun in der4 Noth
Wer ist, der uns als5 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, Continuo). Choralgesange, No. 379.

Melody: “Meine Hoffnung stehet feste”

Anon. 1680

Melody: “Bleiches Antlitz, sei gegrusset”

Friedrich Funcke 1686

Melody: “Einen guten Kampf hab’ ich”

Anon. 1713

(b)

The words and melody of the sixth movement are from Paul Gerhardt’s “Schwing’ dich auf zu deinem Gott.” The Hymn was first published, to another tune, in Johann Crüger’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 of Johann Sebastian Bachs vierstimmige Choralgesänge gesammlet von Carl Philipp Emmanuel Bach (Berlin and Leipzig, 1769). According to the Choralgesange, No. 305, the tune is a slight reconstruction (“etwas umgebildet”) of a melody (Zahn, iv. No. 6295a) published in the second Part of Daniel Vetter’s Musicalische Kirch- und Hauss-Ergotzlichkeit (Leipzig, 1713) 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 Liebesübung (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 Lüneburgisches Gesangbuch (Lüneburg, 1686), set to Johann Rist’s “Bleiches Antlitz, sei gegrüsset.” The tune there bears the initials “F. F.,” i.e. Friedrich Funcke, who was born in 1642, was Cantor of St John’s Church, Lüneburg, 1664-94, and died 1699. Bach’s melody therefore must either accept Funcke as its author, or the two tunes must be held derivatives of an 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:

Schuttle1 deinen Kopf und sprich:
Fleuch, du alte Schlange!
Was erneurst du deinen Stich,
Machst mir angst und bange?
Ist dir doch der Kopf zerknickt,
Und ich bin durch’s Leiden
Meines Heilands dir entruckt2
In den Saal der Freuden.
B.G. vii. 387.

Form. Simple (Corno, 2 Ob., Strings, Continuo). Choralgesange, No. 305.

Melody: “Freuet euch, ihr Christen alle”

? Andreas Hammerschmidt 1646

(c)

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 Brux in Bohemia in 1612. 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 Münster and Osnabruck which concluded the Thirty Years’ War:

Jesu, nimm dich deiner Glieder
Ferner in Genaden an;
Schenke, was man bitten kann,
Zu erquicken deine Bruder:
Gieb der ganzen Christenschaar
Frieden und ein sel’ges Jahr!
Freude, Freude uber Freude!
Christus wehret allem Leide.
Wonne, Wonne uber Wonne
Er ist die Genadensonne.
B.G. vii. 394.

An English translation of the Hymn is noted in the Dictionary of Hymnology, p. 614.

Form. Simple (Corno, 2 Ob., Strings, Continuo). Choralgesange, No. 105.

Cantata XLI.

Jesu, nun sei gepreiset1 . Feast of the Circumcision (New Year’s Day) (c. 1740)

Melody: “Jesu, nun sei gepreiset”

Anon. 1591

A Choral Cantata, on Johann Hermann’s New Year’s Hymn, “Jesu, nun sei gepreiset.” Words and melody were published together in the Wittenberg 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 Choralgesänge, 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 Jahr’,
Fur 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 erfüllet.
Wir woll’n uns dir ergeben
Jetzund und immerdar,
Behut’ Leib, Seel’1 und Leben
Hinfort durch’s2 ganze Jahr!3
B.G. x. 3.

Form. Choral Fantasia (3 Trombe, Timpani, 3 Ob., Strings, Organ, Continuo)4 .

(b)

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 fröhlich5 abscheiden
In’s ewig’ Himmerlreich6 ,
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 christgläubige Schaar,
Und wunscht mit Mund und Herzen
Ein selig’s neues Jahr.
B.G. x. 58.

Form. Extended (3 Trombe, Timpani, 3 Ob., Strings, Organ, Continuo). Choralgesange, No. 204.

Cantata XLII.

Am Abend aber desselbigen Sabbaths. First Sunday after Easter (“Quasimodo geniti”) (c. 17311 )

(a)

The words of the fourth movement are the first stanza of Johann Michael Altenburg’s “Verzage nicht, du Häuflein klein,” first published (to no specified tune) as a broadsheet c. 1632 (Leipzig), and later in Andächtige Hertz- und Seelen-Musica (Nordhausen, c. 1635). The Hymn is also attributed, on doubtful evidence, to Gustavus Adolphus of Sweden.

Altenburg was born at Alach, near Erfurt, in 1584. In 1608 he was appointed pastor of Ilversgehofen, near Erfurt, and later to other charges near the city. Forced by the war to seek refuge in Erfurt in 1631, 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, O2 Hauflein klein,
Obgleich3 die Feinde willens sein,
Dich gänzlich zu verstoren,
Und suchen deinen Untergang,
Davon dir wird rechst4 angst und bang
Es wird nicht lange5 wahren.
B.G. x. 82.

Translations of the Hymn into English are noted in the Dictionary of Hymnology, pp. 55, 1721.

Form. A Soprano and Tenor Duetto (Fagotto, Violoncello, Organ, Continuo). Though marked “Choral,” Bach does not use the Hymn melody.

Melody: “Verleih’ uns Frieden gnadiglich”

Anon. 1535

Melody: “Gieb unsern Fursten”

Anon. 1566

(b)

The melody of the last movement is that of Luther’s “Verleih’ uns Frieden gnadiglich,” published, with the Hymn, in Kirchē gesenge, mit vil schönen Psalmen unnd Melodey (Nürnberg, 1531), and in Joseph Klug’s Geistliche Lieder (Wittenberg, 1535 [1529]). The musical texts are nearly identical, 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 Fürsten,” was first published, with the Hymn, in Das christlich Kinderlied D. Martini Lutheri (Wittenberg, 1566). The melody occurs also in Cantata 126. 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 unsern Fürsten,” founded on 1 Timothy ii. 1, 2, was attached to the Hymn in 1566 (supra):

- Verleih’ uns Frieden gnadiglich,
- Herr Gott, zu unsern Zeiten,
- Es ist ja doch1 kein Andrer nicht,
- Der fur uns könnte streiten,
- Den du uns’r Gott alleine.
- Gieb unsern Fürsten und der2 Obrigkeit
- Fried’ und gut Regiment,
- Dass wir unter ihnen
- Ein geruhig3 und stilles Leben fuhren 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). Choralgesange, No. 322.

Cantata XLIII.

Gott fahret auf mit Jauchzen4 . 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 Lebensfürst, Herr Jesu Christ” (see Cantata 11):

- Du Lebensfurst, Herr Jesu Christ,
- Der du bist aufgenommen
- Gen Himmel, da dein Vater ist
- Und die Gemein’ der Frommen:
- Wie soll ich deinen grossen Sieg,
- Den du durch einen1 schweren Krieg
- Erworben hast, recht preisen,
- Und dir g’nug Ehr’ erweisen?
- Zieh’ uns dir nach, so laufen wir,
- Gieb uns des Glaubens Flugel!
- Hilf, dass wir fliehen weit von hier
- Auf Israelis Hugel.
- Mein Gott! wann fahr’ ich doch dahin,
- Woselbst ich ewig2 frohlich bin?
- Wann werd’ ich vor dir stehen,
- Dein Angesicht zu sehen?
- B.G. x. 126.

Form. Simple (3 Trombe, 2 Ob., Strings, Continuo). Choralgesange, No. 81.

Cantata XLIV.

Sie werden euch in den Bann thun3 . Sixth Sunday after Easter (“Exaudi”)4 (c. 1725)

(a)

For the melody of the fourth movement, “Ach Gott, wie manches Herzeleid,” see Cantata 3.

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 trübsalvoll,
Den ich zum Himmel wandern soll.
B.G. x. 143.

Form. Tenor Unison Choral (Fagotto, Continuo).

(b)

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 allen meinen Thaten” (see Cantata 13):

So sei nun, Seele, deine,
Und traue dem alleine,
Der dich erschaffen1 hat.
Es gehe, wie es gehe:
Dein Vater in der Hohe
Der weiss zu allen Sachen Rath2 .
B.G. x. 150.

Form. Simple (2 Ob., Fagotto, Strings, Continuo). Choralgesänge, No. 296.

Cantata XLV.

Es ist dir gesagt, Mensch, was gut ist. Eighth Sunday after Trinity (c. 1740)

Melody: “Die Wollust dieser Welt”

Anon. 1679*

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), in association with Johann Jakob Schütz’ (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.

The melody is used also in Cantatas 64, 94, 128, 129, and in the unfinished Cantata U 1, “Ehre sei Gott in der Höhe.” 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 gebuhret,
Wozu mich dein Befehl
In meinem Stande fuhret.
Gieb, dass ich’s thue bald,
Zu der Zeit, da ich soll;
Und wenn ich’s thu’, so gieb,
Dass es gerathe wohl.
B.G. x. 186.

Form. Simple (2 Fl., 2 Ob., Strings, Continuo). Choralgesange, No. 278.

Cantata XLVI.

Schauet doch und sehet. Tenth Sunday after Trinity (c. 1725)

Melody: “O grosser Gott von Macht”

? Melchior Franck 1632

The melody and words of the concluding Choral are from Balthasar Schnurr’s (1572-1644) “O grosser Gott von Macht,” published together as a broadsheet, entitled Ein Andachtiges Buss-Lied, Aus der Vorbitt Abrahams fur die Sodomiter (Leipzig, 1632). The Cantionale sacrum (Gotha, Part II, 1648) contains a harmonisation of the melody by Melchior Franck. As that work includes thirty tunes harmonised 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 Nürnberg, and two or three years later became Capellmeister at Coburg. He died there in 1639.

The melody, which Bach does not use elsewhere, is not in the Choralgesange. 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 Erk1 and Spitta2 to Johann Matthaus Meyfart (1590-1642). In Weber’s Hymn book, however, it bears the unidentified initials, “M. J. W.”:

O grosser Gott der3 Treu’,
Weil vor dir Niemand gilt
Als dein Sohn Jesus Christ,
Der deinen Zorn gestillt:
So sieh’ doch an die Wunden sein,
Sein’ Marter, Angst und schwere Pein.
Um seinet-willen schone,
Und nicht nach Sunden lohne.
B.G. x. 236.

Form. Extended (Tromba or Corno da Tirarsi4 , 2 Fl. (a due), Strings, Continuo). Erk, No. 280.

Cantata XLVII.

Wer sich selbst erhohet, der soll erniedriget werden. Seventeenth Sunday after Trinity (c. 1720)

Melody: “Warum betrübst du dich, mein Herz”

Anon. 1565

The words and melody of the concluding Choral are those of the Hymn “Warum betrübst 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 tum in schola tum etiam in ecclesia Creilsheimensi solent cantari.” In B.G. 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 in the Choralgesange, Nos. 331, 332. Bach’s modification 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)1 . It occurs in Zwey schone newe geistliche Lieder (Nurnberg, c. 1560) and is said to be found in a Polish Hymn book edited by Pastor Seklucyan at Konigsberg in 1559:

Der zeitlichen Ehr’ will ich gern entbehr’n,
Du woll’st mir2 nur das Ew’ge 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, Continuo). Choralgesange, No. 333.

Cantata XLVIII.

Ich elender Mensch, wer wird mich erlosen. Nineteenth Sunday after Trinity (c. 1740)

Melody: “Ach Gott und Herr”

Anon. 1625

Reconstruction 1655

(a)

The words and melody of the third movement are those of the Lenten Hymn, “Ach Gott und Herr, Wie gross und schwer,” first published together in As hymnodus sacer (Leipzig, 1625). A reconstruction of the melody, in a major key1 , which Bach follows, first appeared in Christoph Peter’s (“Sangmeister” at Guben) Andachts Zymbeln Oder andachtige und geistreiche...Lieder (Freiberg, 1655).

There is another harmonisation of the tune in Choralgesange, No. 3. Organ Works, N. xviii. 1, 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 1613. 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, 1611-54, and to Martin Rutilius (1550-1618), deacon and archdeacon at Weimar, 1586-1618. It is placed by Fischer-Tümpel1 among the “Lieder von unbekannten Verfassern”2 :

Soll’s ja so sein,
Dass Straf’ und Pein
Auf Sunden folgen mussen:
So fahr’ hier fort
Und schone dort,
Und lass mich hier3 wohl bussen.
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, Continuo). Choralgesange, No. 4.

Melody: “Herr Jesu Christ, du höchstes Gut”

Anon. 1593

(b)

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 vorhanden 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 Choralgesange, No. 141.

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, lieber1 Gott, wie dir’s gefallt:
Dein bin und will ich bleiben.
B.G. x. 298.

Form. Simple (Tromba, 2 Ob., Strings, Continuo). Choralgesange, 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. 1731)

The melody and words of the concluding Choral are from Philipp Nicolai’s “Wie schon leuchtet der Morgenstern” (see Cantata 1).

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;
Dess klopf’ ich in die Hande!
Amen, Amen!
Komm, du schöne Freudenkrone,
Bleib’ nicht lange!
Deiner wart’ ich mit Verlangen.
B.G. x. 330.

Form. Dialogus for Soprano and Bass, the Soprano having the cantus (Oboe d’amore, Strings, Organ, Continuo)1 . It is marked “Duetto.”

Cantata LI.

Jauchzet Gott in allen Landen. Fifteenth Sunday after Trinity2 (1731 or 1732)

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 woll’ in uns vermehren,
Was er uns aus Gnaden verheisst,
Dass wir ihm fest vertrauen,
Gänzlich verlass’n auf ihn,
Von Herzen auf ihn bauen,
Dass uns’r Herz, Muth und Sinn

Ihm festiglich anhangen;
Drauf singen wir zur Stund’:
Amen! wir werd’ns erlangen,
Glaub’n wir aus Herzens Grund.
B.G. xii. (ii) 14.

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 hab’ ich gehoffet, Herr”

Seth Calvisius 1581

The melody, “In dich hab’ ich gehoffet, Herr,” which Bach uses in the concluding Choral of the Cantata, was composed by Seth Calvisius or Kallwitz (1556-1615), a predecessor of Bach as Cantor of St Thomas’ Church, Leipzig. It was published, along with the Hymn, in Gregorius Sunderreitter’s Himlische Harpffe Davids (Nürnberg, 1581).

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 Orgelbuchlein (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 published in Form und Ordnung Gaystlicher Gesang und Psalmen (Augsburg, 1533):

In dich hab’ ich gehoffet, Herr,
Hilf, dass ich nicht zu Schanden werd’,
Noch ewiglich zu Spotte
Dass bitt’ ich dich,
Erhalte mich
In deiner Treu’, Herr Gotte1 .
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, Continuo). Choralgesange, No. 2122 .

Cantata LV.

Ich armer Mensch, ich Sündenknecht. Twenty-second Sunday after Trinity (1731 or 1732)

Melody: “Werde munter, mein Gemuthe”

Johann Schop 1642

The melody of the concluding Choral is Johann Schop’s “Werde munter, mein Gemüthe,” first published, with the Hymn, in Part III of Johann Rist’s Himlischer Lieder mit Melodeien (Lüneburg, 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 Choralgesänge, 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 Gemüthe,” first published, with the melody, in Part III of his Himlischer Lieder (supra):

Bin ich gleich von dir gewichen,
Stell’ ich mich doch wieder ein;
Hat uns doch dein Sohn verglichen
Durch sein’ Angst und Todespein.
Ich verleugne nicht die Schuld,
Aber deine Gnad’ und Huld
Ist viel grosser als die Sunde,
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). Choralgesange, No. 362.

Cantata LVI.

Ich will den Kreuzstab gerne tragen1 . Nineteenth Sunday after Trinity (1731 or 1732)

Melody: “Du, O schones Weltgebaude”

Johann Cruger 1649

The melody and words of the concluding Choral are from Johann Franck’s Hymn, “Du, O schönes Weltgebaude.” The melody was first published, with the first stanza only of Franck’s Hymn (but with the first line as, “Du geballtes Weltgebäude”), in Johann Crüger’s Geistliche Kirchen-Melodien (Leipzig, 1649).

The melody does not appear elsewhere in the Cantatas or Oratorios. Another harmonisation of it is in the Choralgesange, 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 Crüger’s Praxis Pietatis Melica (Berlin, 1653):

Komm, O Tod, du Schlafes Bruder,
Komm, und führe mich nur fort;
Lose meines Schiffleins Ruder,
Bringe mich an1 sichern Port.
Es mag, wer da will, dich scheuen,
Du kannst mich vielmehr erfreuen;
Denn durch dich komm’ ich hinein2
Zu dem schonsten Jesulein.
B.G. xii. (ii) 104.

Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 387.

Form. Simple (2 Ob., Taille3 , Strings, Continuo). Choralgesange, No. 72.

Cantata LVII.

Selig ist der Mann. Feast of St Stephen (Christmas) (c. 1740)

Melody: “Hast du denn, Liebster, dein Angesicht”

Anon. 1665

The melody of the concluding Choral is generally associated with Joachim Neander’s Thanksgiving Hymn, “Lobe den Herren, den mächtigen König der Ehren,” and was appropriated for it by him in his Glaub- und Liebesubung (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 Angesicht gäntzlich 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.

The melody occurs also in Cantata 137 and in the unfinished Cantata U 3, “Herr Gott, Beherrscher aller Dinge.” Organ Works, N. xvi. 14 (“Kommst du nun, Jesu, vom Himmel herunter”). Bach’s treatment of bars 1 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 gäntzlich 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 Mücheln, 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 ergötzt
Und in den Himmel versetzt
Aus dem gemarterten Leibe.
B.G. xii. (ii) 132.

Form. Simple (2 Ob., Taille1 , Strings, Organ, Continuo). Choralgesänge, No. 231.

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 trubsalsvoll,
Den ich zum Himmel wandern soll.
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 Christliche Gebet (1610), and thence in his Zehen Sterbegebet Reimweise zugerichtet (Wittenberg, 1611).

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 mir ein’ schwere Reis’
Zu dir in’s Himmels Paradeis;
Da ist mein rechtes Vaterland,
Daran1 du dein Blut hast2 gewandt.
B.G. xii. (ii) 146.

Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 127.

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. 1535

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 (Wittenberg, 1524), and in both editions of the Erfurt Enchiridion (1524). An earlier form of the melody (supra) appears, with the Hymn, in Klug’s Geistliche Lieder (Wittenberg, 1535 [1529]).

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. 1, 10.

The words of the Choral are the first stanza of Luther’s Hymn:

Komm, heiliger Geist, Herre Gott,
Erfull’ mit deiner Gnaden Gut
Deiner Glaubigen Herz, Muth und Sinn!
Dein’ brunstig’ Lieb’ entzund’ in ihn’n!
O Herr, durch deines Lichtes Glanz1
Zu dem Glauben versammelt hast
Das Volk aus aller Welt Zungen;
Das sie dir, Herr, zu Lob’ gesungen.
Alleluja! Alleluja!
B.G. xii. (ii) 164.

English translations of the Hymn are noted in the Dictionary of Hymnology, p. 631.

Form. Embellished (Strings, Continuo). Choralgesange, No. 220.

Cantata LX.

O Ewigkeit, du Donnerwort. Twenty-fourth Sunday after Trinity (1732)

(a)

The melody of the opening movement is Johann Schop’s “Wach auf, mein Geist,” reconstructed by Johann Cruger for Rist’s Hymn, “O Ewigkeit, du Donnerwort” (see Cantata 20).

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 hinwende1 ;
Mein ganz erschrock’nes Herze bebt2 ,
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 Ahle 1662

(b)

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 III (1662) of Ahle’s Neuer Geistlicher Arien, So mit 1, 2, 3, oder 4, Stimmen (Muhlhausen, 1660-64).

Ahle, born at Mühlhausen 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 Lüneburg. He was appointed Deacon of St Michael’s Church there in 1670 and held the post until his death in 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 gefällt,
So spanne mich doch aus.
Mein Jesus kommt: nun gute Nacht, O Welt!
Ich fahr’ in’s Himmelshaus;
Ich fahre sicher hin mit1 Frieden,
Mein grosser2 Jammer bleibt darnieden.
Es ist genug.
B.G. xii. (ii) 190.

Form. Simple (Corno, 2 Ob. d’amore, Strings, Continuo). Choralgesange, No. 91.

Cantata LXI.

Nun komm, der Heiden Heiland1 . First Sunday in Advent (1714)

(a)

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 Jungfrauen Kind erkannt,
Dess sich wundert alle Welt:
Gott solch’ 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, Continuo2 ).

(b)

The words and melody of the concluding movement are Philipp Nicolai’s “Wie schön leuchtet der Morgenstern” (see Cantata 1). The words are part of the seventh stanza of the Hymn:

Amen, Amen!
Komm du schöne 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 17341 )

A Choral Cantata, on Luther’s Christmas Hymn, “Nun komm, der Heiden Heiland” (see Cantata 36).

(a)

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).

(b)

The words of the concluding Choral are the eighth stanza of the Hymn:

Lob sei Gott, dem Vater, g’than1 ,
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). Choralgesange, 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

Melody: “Gelobet seist du, Jesu Christ”

Anon. 1524

(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 treatment of the melody, Simple in form and unaccompanied, is in B.G. xvi. 371 and another will be found there at p. xv. Another harmonisation of the tune is in the Choralgesänge, No. 107. An arrangement of it by Bach for accompanying the congregation is in N. xviii. 37. Organ Works, N. xv. 15; 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 Alles uns gethan,
Sein’ gross’ Lieb’ zu zeigen an.
Dess freu’ sich alle Christenheit
Und dank’ ihm dess in Ewigkeit.
Kyrieleis!
B.G. xvi. 118.

English translations of the Hymn are noted in the Dictionary of Hymnology, p. 408.

Form. Simple (Cornetto, 3 Trombones, Strings, Organ, Continuo). Choralgesange, No. 108.

(b)

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 Choralgesange.

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 broadsheet at Altenburg in 1667. It has a distinctive melody of its own, by Jakob Hintze (1679).

Pfefferkorn 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 allen 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.

An English translation of the Hymn is noted in the Dictionary of Hymnology, p. 893.

Form. Embellished (Cornetto, 3 Trombones, Strings, Organ, Continuo). Choralgesänge, No. 280.

Melody: “Jesu, meine Freude”

Johann Cruger 1653

(c)

The melody of the concluding Choral is Johann Crüger’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 Choralgesänge, No. 195. Bach’s treatment of the second line varies. Only in Cantatas 64 and 87 and the Organ Preludes does he follow Crüger’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. 31; xviii. 64; P. v. 112.

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, O1 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). Choralgesange, No. 200.

Cantata LXV.

Sie werden aus Saba Alle kommen2 . Feast of the Epiphany (1724)

Melody: “Puer natus in Bethlehem”

Anon. 1543

Melody: “Ein Kind geborn zu Bethlehem”

(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 zu Wittemberg, 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 (Nürnberg, 1553 [1550]. Bach uses the later melody here. With alterations the 1543 tune is that of Luther’s “Vom Himmel kam der Engel Schaar.” The 1553 melody is the descant to the 1543 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 geborn zu Bethlehem,” published, with the melody, by Joseph Klug in 1543 (supra):

Die Kön’ge aus Saba kamen dar,
Gold, Weihrauch, Myrrhen brachten sie dar,
Alleluja, 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). Choralgesange, No. 302.

Melody: “Was mein Gott will”

Anon. 1572 [1571]

(b)

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, “Il me souffit de tous mes maulx1 .” 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, 111, 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 Crüger’s Praxis Pietatis Melica:

Ei nun, mein Gott, so fall’ ich dir
Getrost in deine Hande.
Nimm mich, und mach’ es so2 mit mir
Bis an mein letztes Ende,
Wie du wohl weisst,
Dass meinem Geist
Dadurch sein Weg3 entstehe,
Und deine Ehr’
Je mehr und mehr
Sich in mir4 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.

Cantata LXVI.

Erfreut euch, ihr Herzen. Easter Monday (c. 1731)

Melody: “Christ ist erstanden”

Anon. 1535

Stanza 1.

Stanza iii1

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 (Wittenberg, 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 Choralgesänge, No. 36. Organ Works, N. xv. 83.

The words of the Choral are the third stanza of the Hymn:

Alleluja, Alleluja, Alleluja!
Dess soll’n wir Alle froh sein:
Christus will1 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 (Continuo). Choralgesange, No. 37.

Cantata LXVII.

Halt’ im Gedachtniss Jesum Christ2 . First Sunday after Easter (“Quasimodo geniti”) (c. 1725)

Melody: “Erschienen ist der herrlich’ Tag”

Nicolaus Herman 1560

Melody: “Erstanden ist der heil’ge Christ”

Anon. 15551

(a)

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 reminiscent 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,
All’ sein’ Feind’ er gefangen führt.
Alleluja!
B.G. xvi. 233.

Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 514.

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

(b)

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, 1601).

The melody is by Bartholomaus Gesius. He was born c. 1555 at Muncheberg, near Frankfort, and from 1593 onwards was Cantor at Frankfort. He died there in 1613 or 1614.

The melody is used also in Cantatas 116 and 143. The last line of Bach’s version of the melody is a variant upon Crüger’s text (1649) of the tune.

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). Choralgesange, No. 68.

Cantata LXVIII.

Also hat Gott die Welt Geliebt1 . Whit Monday (? 17352 )

Melody: “Also hat Gott die Welt geliebt”

Gottfried Vopelius 1682

The words and melody of the opening movement 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 Tugend-Spiegel (Leipzig, 1675).

The melody was composed by Gottfried Vopelius and was attached to the Hymn in his Neu Leipziger Gesangbuch (Leipzig, 1682 [1681]).

Bach has not used the melody elsewhere. It is given neither by Erk nor the Choralgesänge1 .

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 soll dort ewig bei2 ihm leben.
Wer glaubt, dass Jesus ihm geboren,
Der bleibet ewig unverloren,
Und ist kein Leid, das den betrubt,
Den Gott und auch sein Jesus liebt.
B.G. xvi. 249.

Form. Choral Fantasia (Corno, 2 Ob., Taille1 , Strings, Continuo). The treatment of the cantus is very free.

Cantata LXIX.

Lobe den Herrn, meine Seele. Twelfth Sunday after Trinity2 (? 1724)

Melody: “Es woll’ uns Gott genadig sein”

Anon. 1525

(a)

The words and melody of the concluding Choral are those of Luther’s version of Psalm lxvii, “Es woll’ uns Gott genädig sein,” published originally in Luther’s Ein weise christlich Mess zuhaltē (Wittenberg, 1524). It is also in Walther’s Geystliche 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, tentatively attributes to Matthaus Greitter (d. c. 1550)—the Hymn was published in the Strassburg Ordnung des Herren Nachtmal (1525) and in the Strassburg Kirchēampt mit lobgsengen (1525).

The melody occurs also in Cantata 76, and there are other harmonisations of it in the Choralgesange, 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 furchte allermeist,
Und1 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). Choralgesange, No. 97.

(b)

Spitta points out1 that about 1730 Bach remodelled 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 Rodigast’s “Was Gott thut, das ist wohlgethan” and the melody is that of the Hymn (see Cantata 12):

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. xvi. 379.

Form. Embellished (Tromba, 3 Ob., Fagotto, Strings, Continuo). Erk, No. 301.

Cantata LXX.

Wachet, betet, betet, wachet2 . Twenty-sixth Sunday after Trinity3 (1716)

(a)

For the melody of the closing Choral, Part I, 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 vergiss all’ Noth und Qual,
Weil dich nun Christus, dein Herre,
Ruft aus diesem Jammerthal.
Seine Freud’ und Herrlichkeit
Sollst du sehn in Ewigkeit,
Mit den Engeln jubiliren,
In Ewigkeit triumphiren.
B.G. xvi. 354.

Form. Simple (Tromba, Oboe, Fagotto, Strings, Continuo). Choralgesange, No. 98.

Melody: “Meinen Jesum lass’ ich nicht”

? Andreas Hammerschmidt 1659

(b)

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 5 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” (Choralgesange, No. 247), and there is another harmonisation of it in the Choralgesänge, No. 242.

Bach’s version, which has not earlier sanction, is built up of phrases 1-4, 9, 11, of the original (1658) text. In Cantata 124 and in two other harmonisations of the tune in the Choralgesänge, Nos. 242, 247, he substitutes phrase 10 for phrase 9. There is another melody in the Choralgesänge, 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[hurfürst] Z[u] S[achsen], i.e. Johann Georg Elector of Saxony:

Nicht nach Welt, nach Himmel nicht
Meine Seele wunscht und sehnet1 :
Jesum wunsch’ ich2 und sein Licht:
Der mich hat mit Gott versöhnet,
Der mich frei macht3 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). Choralgesange, No. 243.

(c)

Melody: “Nun freut euch, lieben Christen g’mein”

Anon. 1535

In the second movement of Part II of the Cantata (B.G. xvi. 360), the Bass Recitativo, “Ach, soll 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 Bartholomäus Ringwaldt’s Advent Hymn, as “Es ist gewisslich an der Zeit1 .”

The melody, “Nun freut euch, lieben Christen g’mein,” was first published, with Luther’s Hymn, in Klug’s Geistliche Lieder (Wittenberg, 1535 [1529]). It also occurs in the “Christmas Oratorio,” No. 59. There is another harmonisation of it in the Choralgesange, No. 262. Organ Works, N. xviii. 80. Bach’s text is invariable and is found in sixteenth century Hymn books.

Cantata LXXI.

Gott ist mein König. For the Inauguration of the Town Council, Mühlhausen (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):

Soll ich auf dieser Welt
Mein Leben höher bringen,
Durch manchen sauren Tritt
Hindurch in’s Alter dringen:
So gieb Geduld; vor Sund’
Und Schanden mich bewahr’,
Auf dass ich tragen mag
Mit Ehren graues Haar1 .
B.G. xviii. 12.

Form. A Tenor “Aria con Corale in Canto” sung by a Soprano, i.e. a Duetto (Organ)2 .

Cantata LXXII.

Alles nur nach Gottes Willen. Third Sunday after the Epiphany (c. 17251 )

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 Nurnberg c. 1554, and in Funff Schone Geistliche Lieder (Dresden, 1556):

Was mein Gott will, das g’scheh’ allzeit’,
Sein Will’ der ist der beste2 ;
Zu helfen den’n er ist bereit,
Die an ihn glauben feste.
Er hilft aus Noth,
Der fromme Gott,
Und zuchtiget3 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). Choralgesange, No. 344.

Cantata LXXIII.

Herr, wie du willt, so schick’s mit mir. Third Sunday after the Epiphany (c. 1725)

Melody: “Wo Gott der Herr nicht bei uns halt”

Anon. 1535

(a)

The Choral melody of the opening movement, “Wo Gott der Herr nicht bei uns hält,” was first 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 Cruger (1709) in associating it with “Who Gott der Herr.”

The melody also occurs in Cantatas 114 and 178, and in Cantata D 3 attributed to Bach, “Siehe, es hat überwunden der Lowe.” There are three other harmonisations of the tune in the Choralgesänge, 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 Betbuchlein (Leipzig, 1582).

Bienemann was born at Nürnberg 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!
Allein zu dir steht mein Begier,
Herr, lass mich1 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 Recitativo passages for S.T.B. which elaborate the ideas suggested by the Hymn. The Recitativo passages are sung to orchestral ritornelli, always the same, but differing in key (Corno, 2 Ob., Strings, Organ obbligato, Continuo)2 .

(b)

For the melody of the concluding Choral, “Von Gott will ich nicht lassen,” see Cantata 11.

The words of the Choral are the ninth stanza of Ludwig Helmbold’s “Von Gott will ich nicht lässen,” founded on Psalm lxxiii. 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 (Nürnberg, 1569).

Helmbold was born at Mühlhausen 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, Mühlhausen, in 1586, and Superintendent there. He died in 1598:

Das ist des Vaters Wille,
Der uns erschaffen1 hat;
Sein Sohn hat Gut’s die Fulle
Erworben uns aus Gnad’2 ;
Auch Gott3 , 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 (Corno, 2 Ob., Strings, Continuo). Choralgesange, No. 328.

Cantata LXXIV.

Wer mich liebet, der wird mein Wort halten. Whit Sunday (17351 )

Melody: “Kommt her zu mir, spricht Gottes Sohn”

Anon. 1530

The melody of the concluding Choral is an anonymous tune published as a broadsheet, “Ain schons newes Christlichs lyed,” in 1530, with Georg Gruenwald’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 Cruger’s Praxis Pietatis Melica, to a melody by Johann Crüger, “Den Herren meine Seel’ erhebt.” Bach follows general use in associating the Hymn with the tune “Kommt her zu mir” (supra):

Kein Menschenkind hier auf der Erd’
Ist dieser edlen Gabe werth,
Bei uns ist kein Verdienen;
Hier gilt gar nichts als Lieb’ und Ghad’,
Die Christus uns verdienet hat
Mit Bussen und Versuhnen
B.G. xviii. 146.

Form. Simple (Tromba, Ob. da caccia, 2 Ob., Strings, Continuo). Choralgesange, No. 223.

Cantata LXXV.

Die Elenden sollen essen. First Sunday after Trinity1 (1723)

(a)

The melody of the concluding Choral of Part I is that of Samuel Rodigast’s Hymn, “Was Gott thut, das ist wohlgethan” (see Cantata 12).

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 nicht2 schrecken
Weil doch zuletzt ich werd’ ergotzt
Mit sussem Trost im Herzen;
Da weichen alle Schmerzen.
B.G. xviii. 171.

Form. Extended (2 Ob., Strings, Continuo).

(b)

The Second Part of the Cantata opens with an Orchestral Sinfonia, or Orchestral Choral Fantasia (Tromba, Strings, Continuo), on the melody “Was Gott thut.” Schweitzer1 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 (a) supra.

Cantata LXXVI.

Die Himmel erzahlen die Ehre Gottes. Second Sunday after Trinity2 (1723)

(a)

The words and melody of the concluding Choral of Part I are Luther’s “Es woll’ uns Gott genädig 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

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.

(b)

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 furchte allermeist,
Und1 sprech von Herzen: Amen!
B.G. xviii. 230.

Form. Extended (Tromba, Strings, Continuo). Erk, No. 201.

Cantata LXXVII.

Du sollst Gott, deinen Herren, lieben. Thirteenth Sunday after Trinity (c. 1725)

Melody: “Dies sind die heil’gen selin Gebot’ ”

Anon. 1524

Melody: “In Gottes Namen fahren wir”

Anon. 1536

(a)

The opening Chorus of the Cantata introduces a Choral melody that does not appear elsewhere in the Cantatas, Oratorios, or Motetts. The movement is a Chorus upon the words, “Du sollst Gott, deinen Herren, lieben von ganzem Herzen, von ganzer Seele, von allen Kraften, von ganzem Gemüthe, und deinen Nächsten 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 neighbour as thyself,” St Luke x. 27). As Spitta comments1 , 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 the Erfurt Enchiridion of 1524 and in Johann Walther’s Geystliche 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 Choralgesange, No. 66. Organ Works, N. xv. 103; xvi. 42, 47.

Form. Choral Fantasia (Tromba da tirarsi, Strings, Continuo)1 .

(b)

For the melody of the concluding Choral, “Ach Gott, vom Himmel sieh’ darein,” see Cantata 2.

Bach’s ms. lacks a text here2 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 verstünd,” published in Das Hannoverische ordentliche, vollstandige Gesangbuch (Lüneburg, 1657), attributed to David Denicke:

Du stellst, mein Jesu, selber dich3
Zum Vorbild wahrer Liebe:
Gieb mir auch Gnad’ und Kraft, dass ich4
Gott und den Nachsten liebe5 ;
Dass ich bei1 Allem, wo ich kann,
Stets lieb’2 und helfe Jedermann
Nach deinem Wort und Weise3 .
B.G. xviii. 254.

Form. Simple4 . Choralgesänge, No. 6.

Cantata LXXVIII.

Jesu, der du meine Seele. Fourteenth Sunday after Trinity (after 1734)

Melody: “Wachet, doch, erwacht, thr Schlafer”

Anon. 1662

A Choral Cantata, on Johann Rist’s Lenten Hymn, “Jesu, der du meine Seele,” first published in Part I of his Himlischer Lieder (Lüneburg, 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 fur wenig Tagen,” and is found in association with it in Theobald Grummer’s Des Daphnis aus CimbrienGalathee (Hamburg, 1642). In 1643 it was used for the song, “Ferdinand, du grosser Kaiser.” In the 1662 (Frankfort) edition of Johann Crüger’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) it 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 Choralgesange, 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-Ergotzlichkeit (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 Seelennoth1
Kräftiglich 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 Fantasia1 (Corno, Flauto, 2 Ob., Strings, Continuo).

(b)

The words of the concluding Choral are the twelfth stanza of Rist’s Hymn:

Herr! ich glaube, hilf mir Schwachen,
Lass mich ja verzagen nicht2 ;
Du, du kannst mich starker machen,
Wenn mich Sund’ und Tod anficht.
Deiner Gute will ich trauen,
Bis ich fröhlich werde schauen
Dich, Herr Jesu, nach dem Streit
In der sussen Ewigkeit.
B.G. xviii. 286.

Form. Simple (Corno, Flauto, 2 Ob., Strings, Continuo). Choralgesange, No. 1883 .

Cantata LXXIX.

Gott, der Herr, ist Sonn’ und Schild1 . For the Reformation Festival (? 1735)

Melody: “Nun danket alle Gott”

Johann Cruger 1648

(a)

The melody of the third movement is Johann Cruger’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 Cruger-Runge Geistliche Lieder und Psalmen Crüger’s initials are attached to it. It has been conjectured to be an adaptation by Crüger of a melody either by Rinkart, who was a good musician, or Luca Marenzio, a choirmaster at Rome, who died in 1598.

The melody occurs also in Cantata 192 and in the third of the “Drei Choräle zu Trauungen” (Choralgesange, No. 258). There is another harmonisation of the tune in the Choralgesänge, 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 (“Lobund Danklied”) is founded on Ecclesiasticus l. 22-24:

Nun danket Alle Gott
Mit Herzen, Mund und Handen,
Der grosse Dinge thut
An uns und allen 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, Continuo). Choralgesange, No. 259.

Melody: “Nun lasst uns Gott dem Herren”

Anon. 1575

Melody: “Nun lasst uns Gott dem Herren”

Anon. 1587

(b)

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 GottseligenChristen zugericht (Muhlhausen, 1575), and repeated in Nicolaus Selnecker’s Christliche Psalmen, Lieder, und Kirchengesenge (Leipzig, 1587). The monotonous melody, which Bach uses (with some modifications introduced by Crüger [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.G. 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). Choralgesange, No. 267

Cantata LXXX.

Ein’ feste Burg ist unser Gott1 . For the Reformation Festival (17302 )

Melody: “Ein’ feste Burg”

Martin Luther 1535

A Choral Cantata3 , 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, 1535), where it appears in association with Luther’s Hymn. Both tune and words, however, are found in Jobst Gutknecht’s Kirchē gesenge, mit vil schonen Psalmen unnd Melodey (Nürnberg, 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 Choralgesange, 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 Böse Feind,
Mit Ernst er’s jetzt meint;
Gross’ Macht und viel’ List
Sein’ grausam Rustung 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.

Form. Choral Fantasia. The cantus is treated freely and fugally (3 Trombe, Timpani, 2 Ob., Strings, Organ1 ).

(b)

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 für uns der rechte Mann,
Den Gott selbst hat2 erkoren.
Fragst du, wer der ist?
Er heisst Jesus3 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 florid and free version of the Choral melody (Oboe, Strings, Continuo).

(c)

The words of the fifth movement are the third stanza of Luther’s Hymn:

Und wenn die Welt voll Teufel wär’,
Und wollten uns1 verschlingen,
So fürchten wir uns nicht so sehr,
Es soll uns doch gelingen.
Der Furst dieser Welt,
Wie sau’r er sich stellt,
Thut er uns doch nichts2 ;
Das macht, er ist gericht’t;
Ein Wörtlein kann ihn fallen.
B.G. xviii. 360.

Form. A Choral Fantasia, in form an Unison Chorus (3 Trombe, Timpani, 2 Ob. d’amore, Strings, Continuo)3 .

(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 Leib1 ,
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 (Continuo)2 . Choralgesange, No. 76.

Cantata LXXXI.

Jesus schlaft, was soll ich hoffen3 ? Fourth Sunday after the Epiphany (1724)

The melody of the concluding Choral is Johann Cruger’s “Jesu, meine Freude” (see Cantata 64).

The words are the second stanza of Johann Franck’s “Jesu, meine Freude” (see Cantata 64):

Unter deinen Schirmen
Bin ich vor den Sturmen
Aller Feinde frei.
Lass den Satan wittern,
Lass den Feind erbittern,
Mir steht Jesus bei.
Ob es jetzt
Gleich kracht und blitzt,
Obgleich Sund’ und Hölle schrecken:
Jesus will mich decken.
B.G. xx. (i) 24.

Form. Simple (2 Ob. d’amore, Strings, Continuo). Choralgesänge, 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*

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 published, 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 Choralgesänge, 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
Fur die Heiden,
Zur erleuchten1 , 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, Continuo). Choralgesange, No. 250.

In the second movement (B.G. xx. (i) 64), marked “Intonazione (Nunc Dimittis) e Recitativo,” the Bass declaims the words, “Herr, nun lässest du deinen Diener in Friede fahren, wie du gesaget hast,” to the old Intonation of the “Nunc Dimittis.”

Cantata LXXXIV.

Ich bin vergnügt mit meinem Glücke. Septuagesima Sunday (1731 or 17321 )

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-Rudolstadt’s funerary Hymn, “Wer weiss, wie nahe mir mein Ende” (see Cantata 27):

Ich leb’ indess in dir vergnuget,
Und sterb’ ohn’ alle Kümmerniss.
Mir g’nuget, wie es mein Gott2 fuget,
Ich glaub’ und bin es ganz gewiss:
Durch deine Gnad’ und Christi Blut
Machst3 du’s mit meinem Ende gut’.
B.G. xx. (i) 98.

Form. Simple (Oboe, Strings, Continuo). Choralgesange, No. 373.

Cantata LXXXV.

Ich bin ein guter Hirt1 . Second Sunday after Easter (“Misericordias Domini”) (1735)

Melody: “Allein Gott in der Hoh’ sei Ehr’ ”

Nicolaus Decius 1539

Melody: “Gloria in excelsis Deo”

15452

(a)

The melody of the third movement is Nicolaus Decius’ (or Hovesch) “Allein Gott in der Höh’ sei Ehr’,” first published, with Decius’ rendering of the “Gloria in excelsis,” in Valentin Schumann’s Geistliche 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 Choralgesänge, 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, 5, 7, 11.

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 Cantionum ecclesiasticarum (Leipzig, 1598), and thence in Becker’s Der Psalter Dauids Gesangweis (Leipzig, 1602).

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, fuhrt,
Auf schöner, grüner Aue.
Zum frischen Wasser leit’t er mich,
Mein’ Seel’ zu laben kräftiglich
Durch’s sel’ge Wort der Gnaden.
B.G. xx. (i) 110.

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: “Ist Gott mein Schild und Helfersmann”

Anon. 1694

(b)

The melody of the concluding Choral, “Ist Gott mein Schild und Helfersmann,” was published, with Homburg’s Hymn (infra), in Hundert ahnmuthig- 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 “Ist Gott mein Schild und Helfersmann,” or “Gott ist mein Schild und Helfersmann,” first published, with a different melody, in Part I of Homburg’s Geistlicher 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 Ungluck mich beruhren wird;
Weicht, alle meine Feinde,
Die ihr mir stiftet Angst und Pein,
Es wird zu eurem Schaden sein;
Ich habe Gott zum Freunde.
B.G. xx. (i) 118.

Form. Simple (2 Ob., Strings, Continuo). Choralgesänge, No. 216.

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 Grüenwald’s “Kommt her zu mir, spricht Gottes Sohn” (see Cantata 74).

The words of the movement are the sixteenth stanza of Grüenwald’s Hymn, first published, with the tune, as a broadsheet, entitled “Ain schons newes Christlichs lyed” (1530).

Grüenwald, an Anabaptist shoemaker, was burnt at the stake as a heretic at Kufstein, in Tyrol, in 1530:

Und was der ewig gut’ge1 Gott
In seinem Wort2 versprochen hat,
Geschwor’n bei seinem Namen,
Das halt und giebt er g’wiss furwahr3 .
Er4 helf’ uns zu5 der Engel6 Schaar
Durch Jesum Christum, Amen!
B.G. xx. (i) 127.

English translations of the Hymn are noted in the Dictionary of Hymnology, p. 472.

Form. Soprano Unison Choral (2 Ob., Continuo)7

(b)

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 soll zur Freud’,
Setzt Gott kein’ g’wisse Tage.
Er weiss wohl, wenn’s am besten ist,
Und braucht an uns kein’ arge List;
Dess soll’n wir ihm vertrauen.
B.G. xx. (i) 134.

Form. Simple (Continuo). Choralgesänge, No. 86.

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 Crüger’s “Jesu, meine Freude” (see Cantata 64).

The words of the Choral are the ninth stanza of Heinrich Müller’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 Müller’s Geistliche Seelen Musik (Rostock, 1659).

Müller was born at Lübeck in 1631, and from 1653 held various positions at Rostock, as Archdeacon, Professor in the University, pastor of two churches, and Superintendent. He died in 1675:

Muss ich sein betrübet?
So mich Jesus liebet,
Ist mir aller Schmerz
Über Honig süsse:
Tausend Zuckerkusse
Drücket 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). Choralgesänge, No. 201.

Cantata LXXXVIII.

Siehe, ich will viel Fischer aussenden1 . Fifth Sunday after Trinity (1732)

The melody and words of the concluding Choral are Georg Neumark’s “Wer nur den lieben Gott lässt 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, Taille2 , Strings, Continuo). Choralgesange, No. 368.

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 5).

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,
Ist Alles mir zu gute
Erlangt mit deinem Blute;
Damit ich uberwinde
Tod, Teufel, Höll’ und Sunde
B.G. xx. (i) 194.

Form. Simple (Corno, 2 Ob., Strings, Continuo). Choralgesange, No. 26.

Cantata XC.

Es reifet euch ein schrecklich Ende. Twenty-fifth Sunday after Trinity (c. 1740)

Melody: “Vater unser im Himmelreich”

Anon. 1539

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 101 and 102, and in the “St John Passion,” No. 5. There is a harmonisation of the tune in the Choralgesange, No. 316, which Bach used for the earlier performances of the “St John Passion.” 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. 53, 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 Sanctorum Patrum (Görlitz, 1584):

Leit’ uns mit deiner rechten Hand,
Und segne unser’ Stadt und Land:
Gieb uns allzeit dein heil’ges Wort,
Behut’ vor Teufel’s List und Mord;
Verleih’ ein sel’ges Stundelein,
Auf dass wir ewig bei dir sein!
B.G. xx. (i) 214.

English translations of the Hymn are noted in the Dictionary of Hymnology, p. 92.

Form. Simple (Continuo). Choralgesänge, 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).

(a)

The words of the opening movement are the first stanza of the Hymn:

Gelobet seist du, Jesu Christ!
Dass du Mensch geboren bist
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).

(b)

The words of the Choral in the second movement are the second stanza of Luther’s Hymn:

Des ew’gen Vaters einig’s Kind
Jetzt man in der Krippe find’t.
In unser armes Fleisch und Blut
Verkleidet sich das ew’ge Gut.
B.G. xxii. 21.

Form. “Recitativ und Choral” for Soprano (Continuo)1 .

(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, Continuo). Choralgesange, 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 “Il me souffit de tous mes maulx” (see Cantata 65). Gerhardt’s Hymn was published to the tune in 1647.

(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 böse scheint, ist mein1 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.

Translations of the Hymn are noted in the Dictionary of Hymnology, p. 412.

Form. Choral Fantasia (2 Ob. d’amore, Strings, Continuo).

(b)

The Choral words in the second movement are the second stanza of Gerhardt’s Hymn:

Es2 kann mir fehlen nimmermehr!
Mein Vater muss mich lieben.
Wenn er mich auch gleich wirft in’s Meer,
So will er mich nur üben
Und mein Gemuth
In seiner Güt’
Gewöhnen fest zu stehen.
Halt’ ich dann Stand,
Weiss seine Hand
Mich wieder zu erhohen.
B.G. xxii. 47.

Form. “Recitativ und Choral” for Bass (Continuo)1 .

(c)

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 Kindern, 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).

(d)

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 mir2
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.

Form. “Choral und Recitativ” (S.A.T.B.). The movement, intersected by Recitativo passages for all the vocal parts, is of the Extended Dialogus type (Continuo).

(e)

The words of the concluding Choral are the twelfth stanza of Gerhardt’s Hymn:

Soll ich denn auch des Todes Weg
Und finst’re Strasse reisen;
Wohlan! ich tret’ auf1 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 möge ehren!
B.G. xxii. 68.

Form. Simple (2 Ob. d’amore, Strings, Continuo). Choralgesänge, No. 347.

Cantata XCIII.

Wer nur den lieben Gott lässt walten2 . Fifth Sunday after Trinity (? 1728)

A Choral Cantata3 , on Georg Neumark’s consolatory Hymn, “Wer nur den lieben Gott” (see Cantata 21). All its stanzas (seven) are introduced, 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,” without being the positive cantus firmus1 .

(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,
Den2 wird er3 wunderlich erhalten
In allem Kreuz4 und Traurigkeit.
Wer Gott, dem Allerhochsten, traut,
Der hat auf keinen Sand gebaut.
B.G. xxii. 71.

Form. Choral Fantasia (2 Ob., Strings, Continuo)5 .

(b)

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 Ungemach1 .
Wir machen unser Kreuz und Leid
Mit christlicher Gelassenheit2 .
B.G. xxii. 83.

Form. “Recitativ und Choral” for Bass3 (Continuo)4 .

(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 Auserwahlten kennt,
Gott, der sich uns ein Vater nennt,
Wird endlich allen Kummer wenden,
Und seinen Kindern Hulfe senden.
B.G. xxii. 84.

The actual text of Neumark’s third stanza is as follows:

Man halte nur ein wenig stille
Und sey doch in sich selbst vergnugt,
Wie unsres Gottes Gnadenwille,
Wie sein’ Allwissenheit es fugt.
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).

(d)

The words of the fourth movement are the fourth stanza of Neumark’s Hymn:

Er kennt die rechten Freudenstunden,
Er weiss wohl, wenn es nutzlich sei.
Wenn er uns nur hat treu erfunden
Und merket keine Heuchelei:
So kommt Gott, eh’ wir’s uns versehn,
Und lasset uns viel 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, Continuo)1 .

(e)

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,
Dass dieser Gott1 im Schoosse sitze,
Der sich mit stetem Glucke speist
Die Folgezeit verändert viel!
Und setzet Jeglichem sein Ziel.
B.G. xxii. 90.

Form. “Recitativ und Choral” for Tenor (Continuo)2 .

(f)

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 Höchsten alles gleich,
Den Reichen klein und arm zu machen
Den Armen aber gross und reich.
Gott ist der rechte Wundermann,
Der bald erhohn, bald sturtzen kan.

Form. Soprano Aria, with fragments of the melody (Oboe, Continuo).

(g)

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 Pfefferkorn’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 allen ihren Schatzen,
Wenn ich mich nur an dir,
Mein Jesu, kann ergotzen!
Dich hab’ ich einzig mir
Zur Wollust vorgestellt,
Denn du bist meine Ruh’:
Was frag ich nach der Welt!
B.G. xxii. 97.

Form. Choral Fantasia (Flauto, Strings, Organ, Continuo)1 .

(b)

The Choral words of the third movement are the third stanza of Pfefferkorn’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 ruhmlich hält,
Ist Jesus nur allein:
Was frag ich nach der Welt!
B.G. xxii. 107.

Form. “Recitativ und Choral” for Tenor (2 Ob., Organ, Continuo)2 .

(c)

The Choral words of the fifth movement are the fifth stanza of Pfefferkorn’s Hymn:

* Die Welt bekummert sich,
Im Fall sie wird verachtet,
Als wenn man ihr mit List
Nach ihren Ehren trachtet.
Ich trage Christi Schmach,
So lang es ihm gefällt.
Wenn mich mein Jesus ehrt:
Was frag ich nach der Welt!
B.G. xxii. 115.

Form. “Recitativ und Choral” for Bass (Organ and Continuo)1 .

(d)

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 Guter mussen 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 gefällt.
- Drum sag ich noch einmal:
- Was frag ich nach der Welt!
- B.G. xxii. 127.

Form. Simple (Flauto, 2 Ob., Strings, Organ, Continuo). Choralgesange, No. 281.

Cantata XCV.

Christus, der ist mein Leben. Sixteenth Sunday after Trinity (? 1732)

Melody: “Christus, der ist mein Leben”

Melchior Vulpius 1609

(a)

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 Choralgesange, 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 (Choralgesange, No. 46) the 1662 form.

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 Recitativo) (Corno, 2 Ob. d’amore, 2 Ob., Strings, Continuo)3 .

Melody: “Valet will ich dir geben”

Melchior Teschner 1614

(b)

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 16141 .

The melody was composed by Melchior Teschner and bears a close resemblance to the tune “Sellenger’s Round.” There is another harmonisation of it in the Choralgesange, 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 nicht2 gefallt.
Im Himmel ist gut wohnen,
Hinauf steht mein’ Begier,
Da wird Gott ewig1 lohnen
Dem der2 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 (unis.), Continuo).

(c)

The melody and words of the concluding Choral are those of Nicolaus Herman’s funerary Hymn, “Wenn mein Stündlein 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’3 Auffahrt ist,
Tod’sfurcht kannst du4 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 (Corno, 2 Ob. d’amore, Strings, Continuo). Choralgesänge, No. 356.

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 ferne
Vor andern Sternen klar.
B.G. xxii. 157.

Form. Choral Fantasia (Corno, Trombone, Flauto piccolo, 2 Ob., Strings, Continuo). The cantus firmus is with the Altos.

(b)

The words of the concluding Choral are the fifth stanza of the Hymn:

Ertödt’ uns durch dein’ Gute,
Erweck’ uns durch dein’ Gnad’;
Den alten Menschen kränke,
Dass der neu’ leben mag,
Wohl hier auf dieser Erden
Den Sinn und all’ Begehrden
Und G’danken1 hab’n zu dir.
B.G. xxii. 184.

Form. Simple (Corno, 2 Ob., Strings, Continuo). Choralgesänge, No. 128.

Cantata XCVII.

In allen meinen Thaten (17342 )

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 Gerhardt’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 15983 . From 1670, at least, the tune is associated with Paul Flemming’s “In allen meinen Thaten.”

(a)

The words of the opening movement are the first stanza of Paul Flemming’s Hymn:

In allen meinen Thaten
Lass’ ich den Höchsten rathen,
Der Alles kann und hat;
Er muss zu allen Dingen,
Soll’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 dem alleine,
Der dich erschaffen1 hat.
Es gehe, wie es gehe:
Mein2 Vater in der Hohe
Weiss allen Sachen Rath.
B.G. xxii. 230.

Form. Embellished (2 Ob., Strings, Organ, Continuo). Choralgesange, No. 297.

Cantata XCVIII.

Was Gott thut, das ist wohlgethan. Twenty-first Sunday after Trinity (c. 1732)

The words and melody of the opening movement are from 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 meine1 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., Taille2 , Strings, Continuo).

Cantata XCIX.

Was Gott thut, das ist wohlgethan. Fifteenth Sunday after Trinity (c. 1733)

A Choral Cantata3 , 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. 253.

Form. Choral Fantasia (Corno, Flauto, Oboe d’amore, Strings, Continuo).

(b)

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. 276.

Form. Simple (Corno, Flauto, Oboe d’amore, Strings, Continuo). Choralgesänge, No. 341.

Cantata C.

Was Gott thut, das ist wohlgethan (c. 1735)1

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 fängt meine1 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).

(b)

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).

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).

(a)

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 Noth1 ,
Die wir mit Sunden ohne Zahl
Verdienet haben allzumal.
Behut’ 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., Taille2 , Strings, Continuo3 ).

(b)

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 Gute bei,
Dein Zorn und Grimm fern von uns sei.
B.G. xxiii. 19.

Form. “Recitativ und Choral” for Soprano (Continuo)1 .

(c)

The words of the fourth movement are a paraphrase of the fourth stanza of Moller’s Hymn:

Warum willst du so zornig sein?
Es schlagen deines Eifers Flammen
Schon uber unserm Haupt zusammen.
Ach, stelle doch die Strafen ein,
Und trag’ aus vaterlicher Huld
Mit unserm schwachen Fleisch Geduld.
B.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 un̄ kot.
Es ist ja fur deim Angesicht
Unser schwacheit verborgen nicht.

Form. A Bass Aria, with snatches of the melody (2 Ob., Taille, Continuo)1 .

(d)

The Choral words of the fifth movement are the fifth stanza of Moller’s Hymn:

Die Sünd’ hat uns verderbet sehr;
Der Teufel plagt uns noch viel mehr.
Die Welt, auch2 unser Fleisch und Blut
Uns allezeit verfuhren thut.
Solch’ Elend kennst du, Herr, allein:
Ach, lass’ uns dir befohlen sein!3
B.G. xxiii. 25.

Form. “Recitativ und Choral” for Tenor (Continuo)4 .

(e)

The words of the sixth movement are a paraphrase of the sixth stanza of Moller’s Hymn:

Gedenk’ an Jesu bittern Tod,
Nimm, Vater, deines Sohnes Schmerzen
Und seiner Wunden Pein zu Herzen:
Sie5 sind ja fur die ganze Welt
Die Zahlung und das Lösegeld;
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.

The actual text of Moller’s sixth stanza is as follows:

Gedenck an deins Sohns bittern Todt,
Sih an sein heilig Wunden roth:
Die sind ja für die gantze Welt
Die Zalung und das Lösegeldt:
Des trösten wir uns allezeit
Und hoffen auff Barmherzigkeit.

Form. “Arie (Duett)” for Soprano and Alto, “mit Benutzung der Choral-Melodie” (Flauto, Ob. da caccia, Continuo).

(f)

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,
Behut’ vor’s Teufels List und Mord.
Verleih’ ein sel’ges Stundelein,
Auf dass wir ewig bei dir sein!
B.G. xxiii. 32.

Form. Embellished (Cornetto, 3 Trombones, Flauto, 2 Ob., Taille, Strings, Continuo). Choralgesange, 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).

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 ändern sich:
- Wer heut’ ist frisch, gesund und roth,
- Ist morgen krank, ja wohl gar todt.
- So du nun stirbest ohne Buss’,
- Dein Leib und Seel’1 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 hinruck’:
- Auf dass ich heut’ und jederzeit
- Zu meiner Heimfahrt sei bereit.
- B.G. xxiii. 66.

Translations of the Hymn are noted in the Dictionary of Hymnology, p. 1065.

Form. Simple (Flauto, 2 Ob., Strings, Continuo). Choralgesange, No. 320.

Cantata CIII.

Ihr werdet weinen und heulen. Third Sunday after Easter (“Jubilate”) (? 1735)

The melody of the concluding Choral is the anonymous “Was mein Gott will, das g’scheh’ allzeit” (see Cantata 65).

The words of the concluding Choral are the ninth stanza of Paul Gerhardt’s Hymn, “Barmherzger Vater, hochster Gott,” first published in the Berlin (1653) edition of Johann Cruger’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 Gluck
Und Trost ohn’ alle Maassen
Will ich dir schon
Die Freuden-Kron’
Aufsetzen und verehren.
Dein kurzes Leid
Soll sich in Freud’
Und ewig Wohl1 verkehren.
B.G. xxiii. 94.

Form. Simple (Tromba, Flauto, 2 Ob. d’amore, Strings, Continuo). Choralgesänge, No. 348.

Cantata CIV.

Du Hirte Israel, hore2 . 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).

The words of the Choral are the first stanza of Cornelius 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 Schäflein, fuhrt,
Auf schöner, grüner Aue:
Zum frischen Wasser leit’t er mich,
Mein’ Seel’ zu laben kräftiglich
Durch’s sel’ge Wort der Gnaden.
B.G. xxiii. 116.

Form. Embellished (2 Ob., Taille1 , Strings, Continuo). Choralgesänge, 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 Schläfer” (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’ erfullen,
Was du selber hast gesagt:
Dass auf dieser weiten Erden
Keiner soll2 verloren werden,
Sondern ewig leben soll,
Wenn er nur ist glaubensvoll.
B.G. xxiii. 144.

Form. Extended (2 Corni, 2 Ob., Viola3 , Continuo).

Cantata CVI.

Gottes Zeit ist die allerbeste Zeit1 . “Actus Tragicus2 ” (1711)

Melody: “Ich weiss mir ein Roslein hübsch und fein”

Anon. 1589

Melody: “Ich hab’ mein Sach’ Gott heimgestellt”

Anon. 1609

(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, 1589) as the Tenor in a four-part setting of the secular song, “Ich weiss mir ein Roslein hübsch und fein,” and becomes the melody of the Hymn “Ich hab’ mein Sach’ Gott heimgestellt” in Melchior Vulpius’ Ein schön geistlich Gesangbuch (Jena, 1609). Bach uses it in the orchestral accompaniment of this movement. The first line of the melody is identical with the 1565 tune, “Warum betrübst du” (see Cantata 47). The 1589 descant melody was appropriated to the same Hymn in 1598 and is used by Bach in Choralgesange, No. 182; Organ Works, N. xviii. 54, 58.

(b)

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).

(c)

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 Vater1 und Sohn bereit,
Dem heil’gen Geist mit Namen!
Die göttlich’ Kraft
Mach’ uns sieghaft
Durch Jesum Christum. Amen.
B.G. xxiii. 173.

Form. Choral Fantasia (2 Fl., 2 Viole da gamba, Continuo)2 .

Cantata CVII.

Was willst du dich betrüben. Seventh Sunday after Trinity (1735)

Melody: “Was willst du dich betrüben”

Anon. 1704

A Choral Cantata, on Johann Heermann’s Hymn, “Was willst du dich betrüben,” first published, to the melody, “Von Gott will ich nicht lassen,” in his Devoti Musica Cordis (Leipzig, 1630). In Freylinghausen’s Gesangbuch (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).

(a)

The words of the opening movement are the first stanza of Heermann’s Hymn:

Was willst du dich betruben,
O meine liebe Seel’?
Ergieb dich den zu lieben1 ,
Der heisst Immanuel;
Vertraue1 ihm allein:
Er wird gut Alles machen
Und fördern2 deine Sachen,
Wie dir’s wird selig sein.
B.G. xxiii. 181.

Form. Choral Fantasia (Corno da caccia, 2 Fl., 2 Ob. d’amore, Strings, Organ, Continuo).

(b)

The words of the closing Choral are the fourteenth 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 11)3 :

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).

Cantata CVIII.

Es ist euch gut, dass ich hingehe. Fourth Sunday after Easter (“Cantate”) (? 1735)

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 Alles, 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, Continuo). Choralgesange, No. 224.

Cantata CIX.

Ich glaube, lieber Herr, hilf meinem Unglauben. Twenty-first Sunday after Trinity (c. 1731)

The melody and words of the concluding Choral are Lazarus Spengler’s “Durch Adams Fall ist ganz verderbt” (see Cantata 18).

The words are the seventh stanza of Spengler’s Hymn:

Wer hofft in Gott und dem vertraut,
Der wird nimmer1 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 verlässt
Auf Gottes Trost;
Er hilft sein’n Glaub’gen allen.
B.G. xxiii. 255.

Form. Choral Fantasia (Corno da caccia, 2 Ob., Strings, Continuo).

Cantata CX.

Unser Mund sei voll Lachens. Christmas Day2 (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:

Alleluja!
Gelobt sei Gott3 !
Singen wir All’ aus unsers Herzens Grunde;
Denn Gott hat heut’
Gemacht solch’ Freud’,
Der wir vergessen soll’n zu keiner Stunde.
B.G. xxiii. 324.

Form. Simple (Tromba, 2 Fl., 2 Ob., Oboe da caccia, Strings, Organ, Continuo). Choralgesänge, 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 mein 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 beste1 ;
Zu helfen den’n er ist bereit,
Die an ihn glauben feste.
Er hilft aus Noth,
Der fromme Gott,
Und zuchtiget2 mit Maassen:
Wer Gott vertraut,
Fest auf ihn baut,
Den will er nicht verlassen.
B.G. xxiv. 3.

Form. Choral Fantasia3 (2 Ob., Strings, Continuo).

(b)

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 böse Geist anficht,
Lass’ mich doch1 nicht verzagen!
Hilf, steur’ und wehr’2 ,
Ach Gott, mein Herr,
Zu Ehren deinem Namen.
Wer das begehrt,
Dem wird’s gewahrt;
Drauf sprech’ ich fröhlich: Amen!
B.G. xxiv. 28.

Form. Simple (2 Ob., Strings, Continuo). Choralgesänge, No. 345.

Cantata CXII.

Der Herr ist mein getreuer Hirt3 . Second Sunday after Easter (“Misericordias Domini”) (c. 1731)

A Choral Cantata, on Wolfgang Meusel’s (Musculus) 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 1512 he entered the Benedictine monastery at Lixheim, near Saarburg. He embraced Lutheranism, 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 getreuer1 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).

(b)

The words of the concluding Choral are the fifth stanza of Meusel’s Hymn:

Gutes und die Barmherzigkeit
Folgen1 mir nach im Leben,
Und ich werd’ bleiben allezeit
Im Haus des Herren eben:
Auf Erd’ in christlicher2 Gemein’
Und nach dem Tod da3 werd’ ich sein
Bei Christo, meinem Herren.
B.G. xxiv. 48.

Form. Embellished (2 Cor., 2 Ob. d’amore, Strings, Continuo). Choralgesange, 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).

(a)

The words of the first movement are the first stanza of Ringwaldt’s Hymn:

Herr Jesu Christ, du höchstes Gut,
Du Brunnquell aller Gnaden1 ,
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 Sünder drücken.
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 freely2 .

(b)

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 gebusset hast
Am Holz mit3 Todesschmerzen:
Auf dass ich nicht für grossem Weh’
In meinen Sunden untergeh’,
Noch4 ewiglich verzage5 .
B.G. xxiv. 59.

Form. An Alto Unison Choral (“Violini all’ unisono,” Continuo).

(c)

The Choral words of the fourth movement are the fourth stanza of the Hymn:

Jedoch1 dein heilsam Wort, das macht
Mit seinem sussen Singen,
Dass mir das Herze wieder lacht,
Als wenn’s2 begunnt’ zu springen.
Dieweil Gott3 alle Gnad’ verheisst,
Wenn wir nur4 mit zerknirschtem Geist
Zu unserm Jesu5 kommen.
B.G. xxiv. 67.

Form. “Recitativ” and Choral for Bass6 (Continuo7 ).

(d)

The words of the seventh movement are a paraphrase of the seventh stanza of the Hymn:

Ach Herr, mein Geist, vergieb mir’s doch,
Womit ich deinen Zorn erreget,
Zerbrich das schwere Sundenjoch,
Das mir der Satan auferleget,
Dass sich mein Herz zufrieden gebe
Und dir zum Preis und Ruhm hinfort
Nach deinem Wort in kindlichem Gehorsam lebe.
B.G. xxiv. 76.

The actual text of the seventh stanza is as follows:

O Herr, vergib, 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).

(e)

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 gefallt,
Im wahren1 Glauben von der Welt
Zu deinen Auserwählten.
B.G. xxiv. 80.

Form. Simple2 . Choralgesange, No. 142.

Cantata CXIV.

Ach, lieben Christen, seid getrost. Seventeenth Sunday after Trinity (c. 1740)

A Choral Cantata, on Johannes Gigas’, or Heune’s, Hymn, “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 Fürstlichen 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 hält” (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 bekennen1 Jedermann,
Niemand darf sich ausschliessen.
B.G. xxiv. 83.

Form. Choral Fantasia (Corno, 2 Ob., Strings, Continuo).

(b)

The words of the fourth movement are the third stanza of Gigas’ Hymn:

Kein’ Frucht das Weizen-Körnlein bringt,
Es fall’ 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. 101.

Form. A Soprano Unison Choral (Continuo).

(c)

The words of the concluding Choral are the sixth stanza of Gigas’ Hymn:

Wir wachen1 oder schlafen ein,
So sind wir doch2 des Herren;
Auf Christum wir getaufet sein,
Der kann dem Satan wehren.
Durch Adam auf uns kömmt der Tod,
Christus hilft uns aus aller Noth.
Drum loben wir den Herren.
B.G. xxiv. 108.

Form. Simple (Corno, 2 Ob., Strings, Continuo). Choralgesange, No. 386.

Cantata CXV.

Mache dich, mein Geist, bereit1 . Twenty-second Sunday after Trinity (c. 1740)

Melody: “Straf mich nicht in deinem Zorn”

Anon. 1694

A Choral Cantata, on Johann Burchard Freystein’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 1712 it was also associated with Freystein’s Hymn in the Hymn books.

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 es ist
Satans List
Über viele Frommen
Zur Versuchung kommen.
B.G. xxiv. 111.

Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 397.

Form. Choral Fantasia (Corno, Flauto, Oboe d’amore, Strings, Continuo).

(b)

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 (Corno, Flauto, Oboe d’amore, Strings, Continuo). Choralgesange, No. 312.

Cantata CXVI.

Du Friedefürst, Herr Jesu Christ1 . Twenty-fifth Sunday after Trinity (1744)

A Choral Cantata, on Jakob Ebert’s Hymn, “Du Friedefürst, Herr Jesu Christ” (see Cantata 67).

For Bartholomäus 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.
B.G. xxiv. 135.

Form. Choral Fantasia (Corno, 2 Ob. d’amore, Strings, Continuo).

(b)

The words of the concluding Choral are the seventh stanza of Ebert’s Hymn:

Erleucht’ auch2 unsern Sinn und Herz
Durch den Geist deiner Gnad’,
Dass wir nicht treiben draus ein’n Scherz,
Der unsrer Seele schad’t.
O Jesu Christ,
Allein du bist,
Der Solch’s wohl kann ausrichten.
B.G. xxiv. 158.

Form. Simple (Corno, 2 Ob. d’amore, Strings, Continuo). Choralgesänge, No. 69.

Cantata CXVII.

Sei Lob und Ehr’ dem höchsten Gut (c. 1733)1

A Choral Cantata, on Johann Jakob Schütz’ Hymn of Thanksgiving, “Sei Lob und Ehr’ dem hochsten Gut,” first published in his Christliches Gedenckbüchlein, zu Beforderung eines anfangenden neuen Lebens (Frankfort a. Main, 1675).

Schütz 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 Schütz’ Hymn:

* Sei Lob und Ehr’ dem höchsten Gut,
Dem Vater aller Güte,
Dem Gott, der alle Wunder thut,
Dem Gott, der mein Gemuthe
Mit seinem reichen Trost erfüllt,
Dem Gott, der allen Jammer stillt.
Gebt unserm Gott die Ehre!
B.G. xxiv. 161.

Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 1018.

Form. Choral Fantasia (2 Fl., 2 Ob., Strings, Continuo).

(b)

The words of the fourth movement are the fourth stanza of Schütz’ Hymn:

* Ich rief dem Herrn in meiner Noth:
Ach Gott, vernimm mein Schreien!
Da half mein Helfer 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). Choralgesange, No. 90.

(c)

The words of the concluding Choral are the ninth stanza of Schütz’ Hymn:

* So kommet vor sein Angesicht
Mit jauchzenvollem Springen;
Bezahlet die gelobte Pflicht,
Und lasst uns frohlich singen:
Gott hat es Alles wohl bedacht
Und Alles, Alles wohl gemacht!
Gebt unserm Gott die Ehre!
B.G. xxiv. 172.

Form. Simple (Continuo). Choralgesange, No. 90.

Cantata CXVIII.

O Jesu Christ, mein’s Lebens Licht (c. 1737)1

The melody of the single movement which forms the Cantata 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 druckt mich sehr der Sünden Last.
B.G. xxiv. 185.

Form. Choral Motett (Lituus 1 and 2, Cornetto, 3 Trombones)2 .

Cantata CXIX.

Preise, Jerusalem, den Herrn1 . For the Inauguration of the Town Council, Leipzig (1723)

Melody: “Herr Gott dich 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 clauses 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. Choralgesange, No. 1342 .

Cantata CXX.

Gott, man lobet dich in der Stille. For the Inauguration of the Town Council, Leipzig (c. 17301 )

Melody: “Herr Gott dich loben wir”

Anon. 1535

The words and melody of the concluding Choral of the Cantata are from Luther’s translation of the “Te Deum” (see Cantata 16). The melody printed above is that portion of the Plainsong to which the clauses Bach uses here were sung.

The words of the Choral are clauses xx-xxiii of the “Te Deum”:

Nun hilf uns, Herr, den Dienern dein,
Die mit dein’m Blut1 erlöset sein.
Lass’ uns im Himmel haben Theil
Mit den Heil’gen im ew’gen Heil.
Hilf deinem Volk, Herr Jesu Christ,
Und segne, was2 dein Erbtheil ist,
Wart’ und pfleg’ ihr’r zu aller Zeit,
Und heb’ sie hoch in Ewigkeit.
B.G. xxiv. 284.

Form. Simple (Continuo). Choralgesänge, No. 135.

Cantata CXXI.

Christum wir sollen loben schon. Feast of St Stephen (Christmas) (c. 1740)

Melody: “A solis ortus cardine”

Anon. 1537

Melody: “Christum wir sollen loben schon”

Anon. 1524

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 Marien Sohn,
So weit die liebe Sonne leucht’t
Und an aller Welt Ende reicht.
B.G. xxvi. 3.

Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 4.

Form. Choral Motett (Cornetto, 3 Trombones, Oboe d’amore, Strings, Continuo).

(b)

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,
Sammt1 Vater und dem heil’gen Geist,
Von nun an bis in Ewigkeit.
B.G. xxvi. 20.

Form. Simple (Cornetto, 3 Trombones, Oboe d’amore, Strings, Continuo). Choralgesange, No. 42.

Cantata CXXII.

Das neugebor’ne Kindelein. Sunday after Christmas (c. 1742)

Melody: “Das neugebor’ne Kindelein”

Melchior Vulpius 1609

A Choral Cantata1 , on Cyriacus Schneegass’ Christmas Hymn, “Das neugebor’ne Kindelein,” probably first published in his Weihenacht und New Jahrs-Gesang (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 1597.

The melody was first published, with the Hymn, in Melchior Vulpius’ Ein schön geistlich Gesangbuch (Jena, 1609). It may be attributed confidently to Vulpius himself.

The melody does not occur elsewhere in the Cantatas, Oratorios, or Motetts.

(a)

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 auserwählten Christenschaar.
B.G. xxvi. 23.

Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 1014.

Form. Choral Fantasia (2 Ob., Taille2 , Strings, Continuo).

In the third movement, the Soprano Recitativo, “Die Engel, welche sich,” the Choral melody is in the accompaniment (3 Flutes and Continuo).

(b)

The Choral words of the fourth movement are the third stanza of the Hymn:

Ist Gott versöhnt und unser Freund,
Was kann1 uns thun der arge Feind?
Trotz Teufel und der2 Hollen 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 II and Viola in unison) having the melody (Continuo).

(c)

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 es3 Singenszeit,
Das Jesulein wend’t alles Leid.
B.G. xxvi. 40.

Form. Simple (2 Ob., Taille, Strings, Continuo), Choralgesange, No. 57.

Cantata CXXIII.

Liebster Immanuel, Herzog der Frommen. Feast of the Epiphany (c. 1740)

Melody: “Liebster Immanuel”

Anon. 1679

Melody: “Schonster Immanuel”

Anon. 1698*

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.

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 Gesang-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 (Darmstadt, 1698). His substitution of an F sharp for A natural as the third note of the third bar of the reconstructed melody (supra) is found in a version of the tune in 1715. For his treatment of bars 5 and 6 also there is (1731) authority. His closing cadence, based on the 1679 text, is repeated in Schemelli’s Gesang-Buch (1736).

(a)

The words of the opening movement are are the first stanza of Fritsch’s Hymn:

Liebster Immanuel, Herzog der Frommen,
Du meiner Seelen Heil1 , komm, komm nur2 bald!
Du hast mir, höchster Schatz, mein3 Herz genommen,
So ganz vor Liebe brennt und nach dir wallt.
Nichts kann auf Erden
Mir Lieb’res werden,
Als wenn ich meinen Jesum stets behalt’1 .
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, Continuo)2 .

(b)

The words of the concluding Choral are the fifth stanza of Fritsch’s Hymn:

Drum fahrt nur immerhin3 , ihr Eitelkeiten!
Du, Jesu, du bist mein, und ich bin dein;
Ich will mich von der Welt zu dir bereiten;
Du sollt in meinem Herz und Munde sein4 !
Mein ganzes Leben.
Sei dir ergeben,
Bis man mich einstens legt in’s5 Grab hinein.
B.G. xxvi. 60.

Form. Simple (2 Fl., 2 Ob. d’amore, Strings, Continuo). Choralgesange, No. 229.

Cantata CXXIV.

Meinen Jesum lass’ ich nicht. First Sunday after the Epiphany (c. 1740)

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 für 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 (Corno, Oboe d’amore, Strings, Continuo).

(b)

The words of the concluding Choral are the sixth stanza of Keimann’s Hymn1 :

Jesum lass’ ich nicht von mir,
Geh’ ihm ewig an der Seiten;
Christus lasst mich fur und fur
Zu den Lebens-Bächlein leiten.
Selig, der2 mit mir so spricht:
Meinen Jesum lass’ ich nicht.
B.G. xxvi. 82.

Form. Simple (Corno, Oboe d’amore concertante, Strings, Continuo). Choralgesange, No. 246.

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).

(a)

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).

(b)

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 Sterben1 .
B.G. xxvi. 101.

Form. “Recitativ” and Choral for Bass (Strings, Continuo2 ).

(c)

The words of the concluding Choral are the fourth stanza of Luther’s Hymn:

Er ist das Heil und sel’ge Licht
Für die Heiden:
Zu erleuchten1 , die dich kennen nicht,
Und zu weiden.
Er ist dein’s Volks Israel
Der Preis, Ehr’, Freud’ und Wonne.
B.G. xxvi. 110.

Form. Simple (Corno, Flauto, Oboe, Strings, Continuo). Choralgesange, No. 251.

Cantata 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.

(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,
Stürzen wollen von seinem Thorn1 .
B.G. xxvi. 113.

Form. Choral Fantasia (Tromba, 2 Ob., Strings, Continuo)2 .

(b)

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.

(c)

The words and melody of the concluding Choral are those of Luther’s Hymn, “Verleih’ uns Frieden gnädiglich,” with its additional stanza, “Gieb unserm Fürst’n” (see Cantata 42):

- Verleih’ uns Frieden gnadiglich,
- Herr Gott, zu unsern Zeiten;
- Es ist ja doch1 kein And’rer nicht,
- Der für uns konnte streiten,
- Denn du, unser Gott, alleine.
- Gieb unsern Fürst’n und aller Obrigkeit
- Fried’ und gut Regiment,
- Dass wir unter ihnen
- Ein geruh’g2 und stilles Leben führen mögen
- In aller Gottseligkeit und Ehrbarkeit. Amen.
- B.G. xxvi. 131.

Form. Simple (Tromba, 2 Ob., Strings, Continuo). Choralgesänge, 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 1551

A Choral Cantata, on Paul Eber’s funerary Hymn, “Herr Jesu Christ, wahr’r Mensch und Gott,” written in 1557, and first published in the Hamburg Enchiridion Geistliker Leder und Psalmen D. Mar. Luth. (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 13).

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 germanici, Erfurt, 1594).

(a)

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,
Für mich am Kreuz auch endlich starbst,
Und mir dein’s Vaters Huld erwarbst,
Ich bitt’ durch’s bittre Leiden dein;
Du woll’st mir Sunder gnädig sein!
B.G. xxvi. 135.

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 accompaniment of the movement the melody, “Christe, du Lamm Gottes” (see Cantata 23), the Strings and Wind instruments playing alternate lines of it1 .

(b)

The words of the concluding Choral are the eighth stanza of Eber’s Hymn:

Ach Herr, vergieb all’ unsre Schuld,
Hilf, dass wir warten mit Geduld,
Bis unser Stundlein kommt herbei,
Auch unser Glaub’ stets wacker sei,
Dein’m Wort zu trauen festiglich,
Bis wir einschlafen seliglich.
B.G. xxvi. 160.

Form. Simple (2 Fl., 2 Ob., Strings, Continuo). Choralgesänge, No. 147.

Cantata CXXVIII.

Auf Christi Himmelfahrt allein Ascension Day (? 1735)

(a)

For the melody of the opening movement, Nicolaus Decius’ “Allein Gott in der Hoh’ sei Ehr’,” see Cantata 85.

The words of the opening movement are the first stanza of Josua Wegelin’s, or Wegelein’s, Ascension Hymn, “Auf Christi Himmelfahrt allein,” first published in Wegelin’s Andachtige Versohnung mit Gott (Nürnberg, 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 Lüneburg Vollständiges Gesang-Buch (Lüneburg, 1661).

Wegelin was born at Augsburg in 1604, and was successively Deacon, Archdeacon, and pastor there. In 1635 he was appointed pastor at Pressburg. He died in 1640:

Auf Christi Himmelfahrt allein
Ich meine Nachfahrt gründe,
Und allen Zweifel, Angst und Pein
Hiermit stets überwinde;
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. 1246.

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.

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-Buchlein (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 Steinbach-Hallenberg in 1662, and died in 1692:

Alsdann so wirst du mich
Zu deiner Rechten stellen,
Und mir, als deinem Kind,
Ein gnadig Urtheil fällen,
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). Choralgesange, 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 alle Gott1 .” Bach sets it here to the anonymous (1679) “O Gott, du frommer Gott” (see Cantata 45). In Wagner (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 Schöpfer, der mir hat
Mein’n Leib und Seel’ gegeben;
Mein Vater, der mich schutzt
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).

(b)

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 mein Gott
In alle Ewigkeit!
B.G. xxvi. 224.

Form. Extended (3 Trombe, Timpani, Flauto, 2 Ob., Strings, Continuo).

Cantata CXXX.

Herr Gott, dich loben alle wir. Feast of St Michael the Archangel (c. 1740)

Melody: “Or sus, serviteurs du Seigneur”

Louis Bourgeois 1551

Melody: “Il n’y a icy celluy”

Anon. c. 15511

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 Nürnberg 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 16011 , was published originally in the Geneva Psalter, Pseaumes octante trois 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 Cantata 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 resemblance to the melody of a French chanson, “Il n’y a icy celluy1 .” 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 harmonisations of the tune in the Choralgesange, Nos. 129, 1302 , 132.

(a)

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
Fur dein’ Geschopf’ der Engel schon,
Die uin dich schweb’n in deinem Thron.
B.G. xxvi. 233.

Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 293.

Form. Choral Fantasia (3 Trombe, Timp., 3 Ob., Strings, Continuo).

(b)

The words of the concluding Choral are the eleventh and twelfth stanzas of Eber’s Hymn:

- Darum wir billig loben dich
- Und danken dir, Gott, ewiglich,
- Wie auch der lieben Engel Schaar
- Dich preisen heut’ und immerdar.
- Und bitten dich: wollst1 allezeit
- Dieselben heissen sein bereit,
- Zu schutzen deine kleine Heerd’,
- So halt dein göttlich’s Wort in Werth.
- B.G. xxvi. 268.

Form. Embellished (3 Trombe, Timp., 3 Ob., Strings, Continuo). Choralgesange, No. 1312 .

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 gebusset hast
Am Holz mit2 Todesschmerzen:
Auf dass ich nicht mit3 grossem Weh
In meinen Sunden untergeh’,
Noch4 ewiglich verzage5 .
B.G. xxviii. 11.

Form. Duetto for Soprano and Bass, the former having the Choral melody, while the Bass independently sings verses iii and iv of Psalm cxxx (Oboe, Continuo)6 .

(b)

The Choral words of the fourth movement are the fifth stanza of Ringwaldt’s Hymn:

Und weil ich denn in meinem Sinn,
Wie ich zuvor geklaget,
Auch ein betrübter Sunder bin,
Den sein Gewissen naget,
Und wollte gern1 im Blute dein
Von Sünden abgewaschen2 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 (Continuo)3 .

Cantata CXXXII.

Bereitet die Wege, bereitet die Bahn. Fourth Sunday in Advent (1715)

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 performed at Weimar4 , necessitated by the fact that at St Thomas’ Church figurate music was given only on the first of the Sundays in Advent. Hence 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:

Ertödt’ uns durch dein’ Gute,
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’danken1 hab’n zu dir.
B.G. xxviii. 50.

Form. Simple2 .

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

Melody: “Ich freue mich in dir”

Bach’s version 1735-37

Melody: “O stilles Gottes Lamm”

Konig’s version 1738

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.

The melody, “Ich freue mich in dir,” which Bach uses in the opening and concluding movements of the Cantata, is one of two1 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 Mass2 , 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 König (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 distinguishes Bach’s Hymn tunes from seventeenth and eighteenth century melodies. It is reminiscent, too, of the many reconstructions of Melchior 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 Bruderlein 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, Continuo).

(b)

The words of the concluding Choral are the fourth stanza of the Hymn:

Wohlan! so will ich mich
An dich, O Jesu, halten,
Und sollte gleich die Welt
In tausend Stucke spalten.
O Jesu! dir, nur dir,
Dir leb’ ich ganz allein;
Auf dich, allein auf dich,
O1 Jesu, schlaf’ ich ein.
B.G. xxviii. 80.

Form. Simple (Cornetto, 2 Ob. d’amore, Strings, Continuo). Choralgesange, No. 181.

Cantata CXXXV.

Ach Herr, mich armen Sünder. Third Sunday after Trinity (c. 1740)

Melody: “Herzlich thut mich verlangen”

Hans Leo Hassler 1601

A Choral Cantata, on Cyriacus Schneegass’ Hymn on Psalm vi, “Ach Herr, mich armen Sünder,” first published in his Geistliche Lieder und Psalmen (Erfurt, 1597).

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 Gesang (Nürnberg, 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 voll Blut1 .” Christopher Demantius, in his Threnodiae (Freiberg, 1620), set it to Schneegass’ “Ach Herr, mich armen Sünder,” 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, 53, 63, 72; and in the “Christmas Oratorio,” Nos. 5, 64. There are other harmonisations of the tune in the Choralgesange, 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 (1679 and 1694 respectively). Organ Works, N. xviii. 53.

(a)

The words of the opening movement are the first stanza of Schneegass’ Hymn:

Ach Herr, mich armen Sunder
Straf’ nicht2 in deinem Zorn;
Dein’n ernsten Grimm doch linder’1 ,
Sonst ist’s mit mir verlor’n.
Ach Herr, wollst mir vergeben
Mein’ Sund’ und gnadig sein,
Dass ich mag ewig leben,
Entfliehn der Hollenpein.
B.G. xxviii. 121.

Form. Choral Fantasia (Trombone, 2 Ob., Strings, Continuo). The cantus is with the Basses.

(b)

The words of the concluding Choral are the sixth stanza of the Hymn2 :

* 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 woll’ uns All’n bescheren
Die ew’ge Seligkeit.
B.G. xxviii. 136.

Form. Simple (Cornetto, 2 Ob., Strings, Continuo). Choralgesange, No. 156.

Cantata CXXXVI.

Erforsche mich, Gott, und erfahre mein Herz. Eighth Sunday after Trinity (c. 17251 )

The melody which Bach uses in the concluding Choral of the Cantata is known both as “Auf meinen lieben Gott” and “Wo soll ich fliehen hin” (see Cantata 5).

The words of the Choral are the ninth stanza of Johann Heermann’s Lenten Hymn, “Wo soll 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 ledig2 machen.
B.G. xxviii. 164.

Form. Embellished (Corno, 2 Ob., Strings, Continuo). Choralgesange, No. 27.

Cantata CXXXVII.

Lobe den Herren, den machtigen König der Ehren. Twelfth Sunday after Trinity (? 1732 )

A Choral Cantata, on Joachim Neander’s Hymn of Thanksgiving, “Lobe den Herren,” first published in his Glaub- und Liebesubung (Bremen, 1680).

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 Cantata 57.

(a)

Verse I.
* Lobe den Herren, den machtigen König der Ehren,
Meine geliebte Seele, das ist mein Begeliren.
Kommet zu Hauf,
Psalter und Harfen, wacht auf!
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, Continuo).

(b)

Verse II1 .
* Lobe den Herren, der Alles so herrlich regieret,
Der dich auf Adelers Fitigen sicher geführet,
Der dich erhalt,
Wie es dir selber gefallt;
Hast du nicht dieses verspuret?
B.G. xxviii. 186.

Form. Unison Choral for Alto. The cantus is treated freely (Violino Solo, Continuo2 ).

(c)

Verse IV.
* Lobe den Herren, der deinen Stand sichtbar gesegnet,
Der aus dem Himmel mit Stromen der Liebe geregnet!
Denke d’ran,
Was der Allmachtige 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!
Alles 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. Embellished (3 Trombe, Timp., 2 Ob., Strings, Continuo). Choralgesange, No. 230.

Cantata CXXXVIII.

Warum betrübst du dich, mein Herz. Fifteenth Sunday after Trinity (c. 17401 )

A Choral Cantata, on the Hymn “Warum betrübst 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).

(a)

The Choral in the opening movement is the first stanza of the Hymn:

Warum betrubst du dich, mein Herz?
Bekummerst dich und trägest Schmerz
Nur um das zeitliche Gut?
Vertrau’ du deinem Herren Gott1 ,
Der alle Ding’ erschaffen hat.
B.G. xxviii. 199.

Form. Choral Fantasia, with orchestral and Recitativo interludes (2 Ob. d’amore, Strings, Continuo)2 .

(b)

The Choral in the third movement is the second stanza of the Hymn:

Er kann und will dich lassen3 nicht;
Er weiss gar wohl, was dir gebricht:
Himmel und Erd’ ist sein!
Dein4 Vater und dein Herre Gott,
Der dir5 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, Continuo) .

(c)

The words of the concluding movement are the third stanza of the Hymn:

Weil du 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’amore, Strings, Continuo)

Cantata CXXXIX.

Wohl dem, der sich auf seinen Gott. Twenty-third Sunday after Trinity (c. 1740)

Melody: “Mach’s mit mir, Gott, nach deiner Güt’ ”

Johann Hermann Schein 1628

A Choral Cantata, on Johann Christoph Rube’s, or Ruben’s, Hymn, “Wohl dem, der sich auf seinen Gott,” first published in Andreas Luppius’ Andachtig Singender Christen-Mund (Wesel, 1692), and, to its own melody, in the 1694 edition of the Dresden Hundert Arien.

Rube was born in 1665, his father being then pastor near Sondershausen. He was appointed judge (Amtmann) at Burggemünden, 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 Crüger’s Praxis. It was composed by Johann Hermann Schein for his Hymn, “Mach’s mit mir, Gott, nach deiner Güt’,” 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 156 and in the “St John Passion,” No. 22. There is another harmonisation of it in the Choralgesange, No. 237. The B flat which Bach substitutes for A natural as the third note of the tune has earlier (1714) 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 Sünde, Welt und Tod,
Und alle Teufel hassen,
So bleibt er dennoch wohl vergnugt,
Wenn er nur Gott zum Freunde kriegt.
B.G. xxviii. 225.

Form. Choral Fantasia (2 Ob. d’amore, Strings, Organ, Continuo)1 .

(b)

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 Hulf’ und Rath:
Wohl dem, der Gott zum Freunde hat.
B.G. xxviii. 248.

Form. Simple (2 Ob. d’amore, Strings, Continuo). Choralgesange, No. 238.

Cantata CXL.

Wachet auf, ruft uns die Stimme2 . Twenty-seventh Sunday after Trinity3 (17314 )

Melody: “Wachet auf, ruft uns die Stimme”

? Philipp Nicolai 1599

A Choral Cantata1 , 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 1597, during the pestilence at Unna in Westphalia, where Nicolai 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 1), 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 Gottes2 ,” 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.

The melody does not occur elsewhere in the Cantatas, Oratorios, or Motetts. Organ Works, N. xvi. 1. 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!
Alleluja!
Macht euch bereit zu der Hochzeit,
Ihr müsset ihm entgegen gehn.
B.G. xxviii. 251.

Translations of the Hymn into English are noted in the Dictionary of Hymnology, pp. 806, 1613, 1722.

Form. Choral Fantasia (Corno, 2 Ob., Taille1 , Strings (including Violino piccolo), Continuo).

(b)

The words of the fourth movement are the second stanza of Nicolai’s Hymn:

Zion hört die Wachter singen;
Das Herz thut ihr vor1 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, Continuo)2 .

(c)

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 zwölf Perlen sind die Pforten
An deiner Stadt; wir sind Consorten
Der Engel hoch um deinen Thron.
Kein Aug’ hat je gespurt,
Kein Ohr hat je1 gehört
Solche Freude.
Dess sind wir froh, Io! Io!
Ewig in dulci jubilo.
B.G. xxviii. 284.

Form. Simple (Corno, 2 Ob., Taille, Strings (including Violino piccolo), Continuo). Choralgesange, No. 329.

Cantata CXLII.

Uns ist ein Kind geboren2 . 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 Gott3 !
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, Continuo).

Cantata CXLIII.

Lobe den Herrn, meine Seele. Feast of the Circumcision (New Year’s Day) (1735)

(a)

The melody of the second movement is Bartholomäus Gesius’ setting of Jakob Ebert’s Hymn for Peace, “Du Friedefürst, Herr Jesu Christ” (see Cantata 67).

The words are the first stanza of the Hymn1 :

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.

(b)

The words of the concluding movement are the third stanza of Ebert’s Hymn:

Gedenk’, Herr Jesu1 , an dein Amt,
Dass du ein Friedfürst bist,
Und hilf uns gnädig allesammt
Jetzt und zu dieser Frist;
Lass uns hinfort
Dein göttlich Wort
In Fried’ noch langer hören2 .
B.G. xxx. 66.

Form. Choral Fantasia (3 Cor. da caccia, Timpani, Fagotto, Strings, Continuo). 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)

(a)

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.
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). Choralgesange, No. 338.

(b)

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 Wille1 ist der beste2 ;
Zu helfen den’n er ist bereit,
Die an ihn glauben feste.
Er hilft aus Noth,
Der fromme Gott,
Und züchtiget3 mit Maassen.
Wer Gott vertraut,
Fest auf ihn baut,
Den will er nicht verlassen.
B.G. xxx. 92.

Form. Simple (Continuo). Choralgesange, No. 343.

Cantata CXLV.

So du mit deinem Munde bekennest Jesum. Easter Tuesday1 (1729 or 1730)

Melody: “Jesus, meine Zuversicht”

? Johann Cruger 1653

Melody: “Jesus, meine Zuversicht”

? Johann Crüger 1653

(a)

The melody of the opening Choral, set to Luise Henriette Electress of Brandenburg’s Hymn, “Jesus, meine Zuversicht,” was published in 1653 in Christoph Runge’s Geistliche Lieder und Psalmen (Berlin) and in the Berlin edition of Johann Crüger’s Praxis Pietatis Melica. The melody is generally attributed to Crüger 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 Choralgesange, 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 Choralgesange. 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 Vollstandige 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,
Ist im Tode nicht geblieben.
Nunmehr bin ich recht getröst’t,
Jesus hat die Welt erlost.
B.G. xxx. 95.

Form. Simple1 . Choralgesange, No. 209.

(b)

The words and melody of the concluding Choral are those of Nicolaus Herman’s Easter Hymn, “Erschienen ist der herrlich’ Tag” (see Cantata 67).

The words are the fourteenth stanza of the Hymn:

Drum wir auch billig fröhlich sein,
Singen das Halleluja fein,
Und loben dich, Herr Jesu Christ;
Zu Trost du uns erstanden bist.
Halleluja!
B.G. xxx. 122.

Form. Simple (Continuo). Choralgesänge, No. 84.

Cantata CXLVI.

Wir mussen durch viel Trubsal in das Reich Gottes eingehen. Third Sunday after Easter (“Jubilate”) (c. 1740)1

The melody of the concluding Choral (B.G. xxx. 190) is Johann Schop’s “Werde munter, mein Gemüthe” (see Cantata 55). The words of the Choral are lacking in the ms. and in the B.G. Score.

Form. Simple2 .

Cantata CXLVII.

Herz und Mund und That und Leben. Feast of the Visitation of the B.V.M.1 (1716)

The melody of the two Choral movements, the sixth and the last, of the Cantata is Johann Schop’s “Werde munter, mein Gemüthe” (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” (supra), in the Frommer Christen Tagliches Bet-Kammerlein (Görlitz, 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.
Jesum hab’ ich, der mich liebet
Und sich mir zu eigen giebet1 .
Ach drum lass’ ich Jesum nicht,
Wenn mir gleich mein2 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, Continuo).

(b)

The words of the concluding Choral are the seventeenth stanza of Janus’ Hymn:

Jesus bleibet meine Freude,
Meines Herzens Trost und Saft,
Jesus wehret3 allem Leide,
Er ist meines Lebens Kraft,
Meiner Augen Lust und Sonne,
Meiner Seele Schatz und Wonne,
Darum lass’4 ich Jesum nicht
Aus dem Herzen und Gesicht.
B.G. xxx. 229.

Form. Extended (Tromba, Oboi, Strings, Continuo).

Cantata CXLVIII.

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 soll ich fliehen hin” (see Cantata 5).

The words of the concluding Choral are the eleventh stanza of Johann Heermann’s Lenten Hymn, “Wo soll ich fliehen hin” (see Cantata 5)1 :

Fuhr’ 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.G. xxx. 260.

Form. Simple (Continuo). Choralgesange, No. 29.

Cantata CXLIX.

Man singet mit Freuden vom Sieg2 . Feast of St Michael the Archangel (1731)

Melody: “Herzlich lieb hab’ ich dich, O Herr”

Anon. 1577

The melody, “Herzlich lieb hab’ ich dich, O Herr,” which Bach uses in the concluding Choral, was first published in Bernhard Schmidt’s Zwey Bücher Einer Neuen Kunstlichen Tabulatur auf Orgel und Instrument (Strassburg, 1577). The germ of it had appeared six years before in Newe Symbola etlicher Fürsten (Nürnberg, 1571), where it is set to the Hymn whose name it bears1 .

The melody occurs also in Cantata 174 and in the “St John Passion,” No. 37. There is another harmonisation of it in the Choralgesange, 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):

Ach Herr, lass dein’ lieb’ Engelein
Am letzten End’ die Seele mein1
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, pp. 1004, 1648.

Form. Embellished (3 Trombe, Timp., 3 Ob., Fagotto, Strings, Continuo). Choralgesange, No. 155.

Cantata CLI.

Süsser Trost, mein Jesus kommt. Feast of St John the Evangelist (Christmas) (c. 1740)

Melody: “Lobt Gott, ihr Christen alle gleich”

Nicolaus Herman 1554

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 1554. 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 Choralgesange, 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 Thur
Zum schonen Paradeis,
Der Cherub steht nicht mehr dafur;
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, Continuo). Choralgesange, No. 235.

Cantata CLIII.

Schau’, lieber Gott, wie meine Feind’. Sunday after the Circumcision (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 kämpfen,
So listig und so mächtig seind,
Dass sie mich leichtlich dämpfen!
Herr, so mich deine Gnad’ nicht halt,
So kann der Teufel, Fleisch und1 Welt
Mich leicht in Ungluck sturzen2 .
B.G. xxxii. 43.

Form. Simple (Strings, Continuo). Choralgesänge, No. 5.

(b)

For the melody of the fifth movement, Hans Leo Hässler’s “Herzlich thut mich verlangen,” see Cantata 135.

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
Dir1 wollten widerstehn,
So wird doch ohne Zweifel
Gott nicht zurucke 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, 1611.

Form. Simple (Strings, Continuo). Choralgesange, 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.

The words of the Choral are the eleventh and twelfth stanzas of Martin Moller’s (?) Hymn, “Ach Gott, wie manches Herzeleid” (see Cantata 3), arranged as three verses:

Drum will ich, weil ich lebe noch,
Das Kreuz dir fröhlich tragen nach;
Mein Gott, mach’ mich darzu bereit;
Es dient zum Besten allezeit.
Hilf mir mein’ Sach’ recht greifen an,
Dass ich mein Lauf vollenden kann,
Hilf mir auch zwingen Fleisch und Blut,
Für Sund und Schanden mich behüt’!
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. xxxii. 58.

Form. Simple (Strings, Continuo). Choralgesange, 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 Gemüthe,” see Cantata 55.

The words of the Choral are the second stanza of Martin Janus’ Hymn, “Jesu, meiner Seelen Wonne” (see Cantata 147):

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). Choralgesänge, No. 365.

(b)

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 nicht1 ,
Geh’ ihm ewig an der Seiten;
Christus lässt mich für und fur
Zu dem Lebensbachlein leiten.
Selig, der2 mit mir so spricht:
Meinen Jesum lass’ ich nicht!
B.G. xxxii. 82.

Form. Simple (2 Ob., Strings, Continuo). Choralgesange, No. 244.

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 wollt’ er nicht,
Lass dich es nicht erschrecken;
Denn wo er ist am besten mit,
Da will er’s nicht entdecken;
Sein Wort lass dir1 gewisser sein,
Und ob dein Herz2 sprach’ lauter Nein;
So lass doch dir nicht grauen.
B.G. xxxii. 96.

Form. Simple (Strings, Continuo). Choralgesange, 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 Güt’ ” (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 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 Güt’,
Hilf mir in meinem Leiden.
Was ich dich bitt’1 , versag’ mir nicht!
Wenn sich mein’ Seel’ soll2 scheiden,
So nimm sie, Herr, in deine Händ’:
Ist Alles gut, wenn gut das End’.
B.G. xxxii. 101.

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 Viola in unison, Continuo)3 .

Melody: “Herr, wie du willt”

Anon. 1525

(b)

The melody of the concluding Choral was first published in 1525 in the Strassburg Ordnung des Herren Nachtinal, and also, with a slight alteration1 , in the Strassburg Teutsch Kirchēampt mit lobgsengen, un̄ gotlichen psalmen 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 Choralgesange, 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;
Allein zu dir steht mein Begehr,
Herr, lass mich2 nicht verderben!
Erhalt’ mich nur in deiner Huld:
Sonst, wie du will’t, gieb mir Geduld;
Dein Will’ der3 ist der beste.
B.G. xxxii. 114.

Form. Simple (Oboe, Strings, Continuo). Choralgesange, No. 150.

Cantata CLVII.

Ich lasse dich nicht, du segnest mich denn. Purification of the B.V.M.1 (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 nicht2 ,
Geh’ ihm ewig an der Seiten;
Christus lässt mich für und für
Zu dem Lebensbächlein leiten;
Selig, wer mit mir so spricht:
Meinen Jesum lass’ ich nicht!
B.G. xxxii. 140.

Form. Simple (Flauto, Oboe, Strings, Continuo). Choralgesange, No. 245.

Cantata CLVIII.

Der Friede sei mit dir. Purification of the B.V.M. and Easter Tuesday3 (c. 1708-17)

(a)

The Choral in the second movement is Johann Georg Albinus’ Hymn, “Welt, ade! ich bin dein müde” (Cantata 27). For Johann Rosenmüller’s melody, see Cantata 27.

The words of the Choral are the first stanza of the Hymn:

Welt, ade! ich bin dein mude,
Ich will nach dem Himmel zu;
Da wird sein der rechte Friede
Und die ew’ge Seelenruh’1 .
Welt, bei dir ist Krieg und Streit,
Nichts denn lauter Eitelkeit,
In dem Himmel allezeit
Friede, Ruh’2 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).

(b)

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 Gott3 geboten,
Das ist hoch an4 des Kreuzes Stamm
In heisser Lieb’ gebraten:
Dess Blut zeichnet uns’re Thur,
Das halt der Glaub’ dem Tode fur,
Der Wurger kann uns nicht ruhren.
Halleluja!
B.G. xxxii. 154.

Form. Simple (Continuo). Choralgesange, No. 40.

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 voll Blut und Wunden,” first published in the 1656 (Frankfort) edition of Cruger’s Praxis Pietatis Melica:

Ich will hier bei dir stehen,
Verachte mich doch nicht!
Von dir will ich nicht gehen,
Bis1 dir dein Herze bricht.
Wenn dein Haupt2 wird erblassen
Im letzten Todesstoss,
Alsdann will ich dich fassen
In meinen Arm und Schoos.
B.G. xxxii. 160.

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).

Melody: “Jesu Kreuz, Leiden und Pein”

Melchior Vulpius 1609: reconstruction 1682

(b)

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 Pein1 . 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 New Leipziger Gesangbuch, Von den schonsten und besten 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 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
Ist mir lauter Freude,
Deine Wunden, Kron’ und Hohn
Meines Herzens Weide;
Meine Seel’ und1 Rosen geht,
Wenn ich d’ran gedenke,
In dem Himmel eine Statt’
Mir2 deswegen schenke!
B.G. xxxii. 168.

Form. Simple (Oboe, Strings, Continuo). Choralgesange, No. 194.

Cantata CLXI.

Komm, du susse Todesstunde. Sixteenth Sunday after Trinity and Feast of the Purification of the B.V.M. (1715)

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 thut mich verlangen.” The Hymn is said to have been written during a pestilence in 1599. It was first printed at Gorlitz in 1605 and also in the Görlitz Harmoniae sacrae (1613), 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 soll werden1
Durch Christum schon verklart;
Wird leuchten als die Sonne
Und leben ohne Noth2
In himml’scher Freud’ und Wonne.
Was schad’t mir dann der Tod3 ?
B.G. xxxiii. 27.

A translation of the Hymn into English is noted in the Dictionary of Hymnology, p. 629.

Form. Embellished (2 Fl., Strings, Continuo). Choralgesange, No. 161.

Bach introduces (Sesquialtera ad Organo) the melody in the opening Alto Aria, “Komm, du süsse Todesstunde.”

Cantata CLXII.

Ach, ich sehe, jetzt da ich zur Hochzeit gehe. Twentieth Sunday after Trinity (1715)

Melody: “Alle Menschen mussen sterben”

Bach’s version 1715

Melody: “Jesu, der du meine Seele”

Johann Schop 1641

Melody: “Herr, ich habe missgehandelt”

Johann Cruger 1649

Melody: “Alle Menschen mussen sterben”

Johann Rosenmuller 1652

The melody of the concluding Choral is one of two which appear for the first time in Bach’s Church Cantatas1 . Erk2 , who prints it, describes it as Johann Schop’s “Jesu, der du meine Seele” (1641) “nachgebildet.” Spitta3 declares it to be “nothing more than a compound produced by the fusion of the melodies, ‘Herr, ich habe missgehandelt’ (1649) and ‘Jesu, der du meine Seele’ (1641).” He adds: “I am now thoroughly convinced of Bach being the author of this melody, which occurs nowhere else.” Spitta’s confidence is inadequately grounded. The Hymn, “Alle Menschen mussen sterben,” received in 1652 a five-part setting, by Johann Rosenmüller1 , 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 1715, the date of Bach’s Cantata, contain a large number of tunes to the Hymn. One of them, dated 16742 , is, as to the first half of it, certainly constructed upon the Bass of Rosenmüller’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 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 familiar1 . The circumstances 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 Orgelbuchlein, 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 müssen sterben.” It was written and published for the funeral of Paul von Henssberg, a burgher of Leipzig, and was sung to Rosenmuller’s setting on that occasion (June 1, 1652). The broadsheet states that both words and music were composed in Henssberg’s honour by Johann Rosenmuller. The statement would appear to be conclusive. On the other hand, Rosenmüller is not known as a Hymn writer, and hymnologists unhesitatingly ascribe the Hymn to Albinus, to whose other Hymn for the Dying, “Welt, ade!” Rosenmüller also wrote the music (see Cantata 27):

Ach, ich habe schon erblicket
Diese grosse1 Herrlichkeit!
Jetzund werd’ ich schon geschmucket
Mit dem weissen Himmelskleid,
Mit2 der guld’nen Ehrenkrone;
Steh’ ich da fur3 Gottes Throne,
Schaue solche Freude an,
Die kein Ende nehmen kann4 !
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). Choralgesange, No. 18.

Cantata CLXIII.

Nur Jedem das Seine. Twenty-third Sunday after Trinity (1715)

Melody: “Wo soll ich fliehen hin”

? Caspar Stieler 1679

The melody of the concluding Choral was first published in Caspar Stieler’s Der Bussfertige Sunder, Oder Geistliches Hand-Buchlein (Nurnberg, 1679). It is set there to Johann Heermann’s Lenten Hymn, “Wo soll ich fliehen hin” (see Cantata 5). Spitta1 describes the melody as Pachelbel’s2 . Zahn, on the other hand, is of opinion that the anonymous tunes in the Hand-Büchlein 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 soll 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. Spitta3 is responsible for the insertion of the eleventh stanza of Johann Heermann’s Lenten Hymn, “Wo soll ich fliehen hin” (see Cantata 5), in the vocal Score:

Fuhr auch mein Herz und Sinn
Durch deinen Geist dahin,
Dass ich mog’ Alles meiden,
Was mich von dir4 kann scheiden,
Und ich an deinem Leibe
Ein Gliedmass ewig bleibe.
[B.G. xxxiii. 64.]

Form. Simple1 . The melody is neither in Erk nor the Choralgesange.

In the fifth movement of the Cantata (B.G. xxxiii. 61), 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’ Gute,
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’danken2 hab’ zu dir.
B.G. xxxiii. 88.

Form. Simple (2 Ob., Strings, Continuo). Choralgesange, No. 127.

In the second movement of the Cantata (B.G. xxxiii. 75), the Bass Recitativo “Wie hören 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 Wasserbad. 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 allen Unfall:
Der heil’ge Geist im Glauben
Lehrt uns darauf vertrauen.
B.G. xxxiii. 104.

Form. Simple (Fagotto, Strings, Continuo). Choralgesänge, 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 höchstes Gut,” see Cantata 48.

The words of the movement are the third stanza of Bartholomaus Ringwaldt’s Hymn, “Herr Jesu Christ, ich weiss gar wohl,” first published in Handbüchlein: Geistliche Lieder und Gebetlin (Frankfort a. Oder, 1586 [1582], to the tune “Wenn mein Stündlein vorhanden ist.” It is associated in Wagner (1697) with the melody, “Herr Jesu Christ” (supra):

Ich bitte1 dich, Herr Jesu Christ,
Halt’ mich bei den Gedanken
Und lass mich ja zu keiner First
Von dieser Meinung wanken.
Sondern dabei verharen fest,
Bis dass die Seel’ aus ihrem Nest
Wird in den Himmel kommen2 .
B.G. xxxiii. 113.

Form. Soprano Unison Choral (“Violini e Viola” in unison, Continuo).

(b)

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):

Wer weiss, wie nahe mir mein Ende,
Hin 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. Simple (Oboe, Strings, Continuo). Choralgesange, No. 372.

Cantata CLXVII.

Ihr Menschen, ruhmet Gottes Liebe1 . Feast of St John Baptist (c. 1725)

The melody of the concluding Choral is Johann Kugelmann’s (?) “Nun lob’, mein’ 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 woll’ in uns vermehren,
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
Ihm festiglich anhangen:
Darauf singen wir zur Stund’.
Amen, wir werden’s erlangen,
Gläub’n wir aus Herzens Grund.
B.G. xxxiii. 140.

Form. Extended (Clarino, Oboe, Strings, Continuo).

Cantata CLXVIII.

Thue Rechnung! Donnerwort. 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 Cantatas 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 wahrem1 Glauben von der Welt
Zu deinen Auserwählten.
B.G. xxxiii. 166.

Form. Simple (2 Ob. d’amore, Strings, Continuo). Choralgesange, No. 143.

Cantata CLXIX.

Gott soll allein mein Herze haben. Eighteenth Sunday after Trinity (1731 or 1732)

Melody: “Nun bitten wir den heiligen Geist”

Anon. 1524

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 Geystliche 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 Choralgesange, No. 254.

The words of the Choral are the third stanza of the Hymn, which, with stanzas ii and iv, Luther 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.

Form. Simple (2 Ob., Taille1 , Strings, Continuo). Choralgesange, No. 2562 .

Cantata CLXXI.

Gott, wie dein Name, so ist auch dein Ruhm. Feast of the Circumcision (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 Himmelreich3
Zum wahren Fried’ und Freuden,
Den Heil’gen Gottes gleich.
Indess mach’s mit uns Allen
Nach deinem Wohlgefallen.
Solch’s singet heut’ ohn’ Scherzen
Die Christglaubige Schaar,
Und wunscht mit Mund und Herzen
Ein sel’ges neues Jahr
B.G. xxxv. 32.

Form. Extended (3 Trombe, Timp., 2 Ob., Strings, Continuo). Choralgesange, No. 2041 .

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 1).

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, mein trautes 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. 69.

Form. Embellished (Fagotto, Strings, Continuo). Choralgesänge, No. 376.

In the fifth movement of the Cantata (B.G. xxxv. 62), the Soprano-Alto Duetto, “Komm, lass’ mich nicht länger 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 (1731 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’: woll’st sein von mir nicht fern
Mit deiner Hilf’1 und Gnaden.
Die ganze Welt erfreut mich nicht2 ,
Nach Himm’l und Erde frag’ ich nicht3 ,
Wenn ich dich nur kann haben.
Herr4 , wenn mir gleich mein Herz zerbricht,
So bist du doch5 mein’ Zuversicht,
Mein Heil6 und meines Herzens Trost,
Der mich durch sein Blut hat erlost.
Herr Jesu Christ, mein Gott und Herr,
In Schanden lass mich nimmermehr!
B.G. xxxv. 157.

Form. Embellished (2 Ob., Taille1 , Strings, Continuo). Choralgesänge, No. 1532 .

Cantata CLXXV.

Er rufet seinen Schafen mit Namen. Whit Tuesday (? 1735)

For the melody of the concluding Choral, “Komm, heiliger Geist, Herre Gott,” see Cantata 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 und Rath,” first published in his Sabbahtische Seelenlust (Lüneburg, 1651), to the melody, “Komm, heiliger Geist”:

Nun, werther Geist, ich folg’ dir;
Hilf, dass ich suche fur und fur
Nach deinem Wort ein ander Leben,
Das du mir willt aus Gnaden geben.
Dein Wort ist ja der Morgenstern,
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). Choralgesange, No. 220.

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 zum 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 Crüger’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 uber alle Götter,
Gott Vater, Sohn und heil’ger Geist,
Der Frommen Schutz und Retter.
Ein Wesen, drei Personen.
B.G. xxxv. 198.

Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 411.

Form. Simple (2 Ob., Oboe da caccia, Strings, Continuo). Choralgesänge, No. 45.

Cantata CLXXVII.

Ich ruf’ zu dir, Herr Jesu Christ1 . Fourth Sunday after Trinity (1732)

Melody: “Ich ruf’ zu dir, Herr Jesu Christ”

Anon. 1535

A Choral Cantata, on Johannes Agricola’s (Sneider) Hymn, “Ich ruf’ zu dir, Herr Jesu Christ,” published originally as a broadsheet, and thence in Joseph Klug’s Geistliche Lieder zu Wittemberg (Wittenberg, 1535 [1529])2 , 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 erroneously to Paul Speratus.

The melody, which was published with the Hymn (supra), occurs also in Cantata 185. Organ Works, N. xv. 111.

(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 wollest du mir geben,
Dir zu leben,
Mein’m Nächsten nutz zu sein1 ,
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 concertante, 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.
Kömmt 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, Continuo). Choralgesänge, 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 Handbuchlein (Erfurt, 1524). It occurs also in Eyn gesang Buchleyn (Zwickau, 1525), but to another melody, and in Joseph Klug’s Geistliche Lieder (Wittenberg, 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 Wittenberg and Erfurt and became (1519) Rector of the latter University. As Professor of Church Law at Wittenberg (1521) 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.

(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 zufällt
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, Continuo).

(b)

The words of the Choral in the second movement are the second stanza of the Hymn:

Was Menschen Kraft und Witz ansaht,
Soll uns billig nicht schrecken;
Er sitzet an der höchsten Statt’,
Er1 wird ihr’n Rath aufdecken,
Wenn sie’s auf’s Klugste greifen an,
So geht doch Gott ein’ andre Bahn:
Es steht in seinen Handen.
B.G. xxxv. 252.

Form. “Recitativ” and Choral for Alto (Continuo)2 .

(c)

The words of the fourth movement are the fourth stanza of the Hymn:

Sie stellen uns wie Ketzern nach,
Nach1 unserm Blut sie trachten;
Noch ruhmen sie sich Christen auch2 ,
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, Continuo).

(d)

The words of the Choral in the fifth movement are the fifth stanza of the Hymn:

Aufsperen sie den Rachen weit
Und wollen uns verschlingen.
Lob und Dank sei Gott allezeit:
Es wird ihn’n nicht gelingen!
Er wird ihr’ Strick’ zerreissen gar
Und sturzen 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).

(e)

The words of the concluding Choral are the seventh and eighth stanzas of the Hymn:

- Die Feind’ sind all’ in deiner Hand,
- Dazu all’ ihr’ Gedanken;
- Ihr’ Anschlag’ sind1 dir, Herr2 , bekannt,
- Hilf nur, dass wir nicht wanken.
- Vernunft wider dem Glauben ficht,
- Auf’s Kunft’ge will sie trauen nicht,
- Da du wirst selber trosten.
- Den Himmel und auch die Erden
- Hast du, Herr Gott, gegrundet;
- Dein Licht lass uns helle werden,
- Das Herz uns werd’ entzundet,
- 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, Continuo). Choralgesange, 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 lässt walten,” see Cantata 21.

The words of the Choral are the first stanza of Christoph Tietze’s (Titius) Hymn, “Ich armer Mensch, ich armer Sünder,” first published in his Sunden-Schmertzen, Trost im Hertzen, Todten Kertzen (Nürnberg, 1663).

Tietze was born at Wilkau in 1641, became Deacon and Archdeacon at Hersbruck, near Nurnberg, and died there in 1703. Before the date of this Cantata Tietze’s Hymn was usually sung to the tune “Wohl dem, der weit von hohen Dingen,” to which it was published. It is set to Neumark’s tune in the Praxis of 1709 and in the Unverfalschter 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’s1 Gericht.
Erbarme dich, erbarme dich,
Gott mein Erbarmer, uber mich!
B.G. xxxv. 292.

Form. Simple (2 Ob., Strings, Continuo). Choralgesange, No. 371.

Cantata CLXXX.

Schmücke dich, O liebe Seele2 . Twentieth Sunday after Trinity (c. 1740)

Melody: “Schmücke dich, O liebe Seele”

Johann Cruger 1649

A Choral Cantata, on Johann Franck’s Eucharistic Hymn, “Schmücke dich, O liebe Seele,” first published, with the melody, in Johann Crüger’s Geistliche Kirchen-Melodien (Leipzig, 1649), and in the Berlin (1653) edition of Crüger’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.

(a)

The words of the opening movement are the first stanza of the Hymn:

Schmucke dich, O liebe Seele,
Lass die dunkle Sündenhohle;
Komm an’s helle Licht gegangen,
Fange herrlich an zu prangen.
Denn der Herr voll Heil und Gnaden
Lasst1 dich itzt zu Gaste laden.
Der den Himmel kann verwalten,
Will selbst2 Herberg’ in dir halten.
B.G. xxxv. 295.

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, Continuo).

(b)

The words of the Choral in the third movement are the fourth stanza of the Hymn:

Ach, wie hungert mein Gemuthe,
Menschenfreund, nach deiner Gute!
Ach, wie pfleg’ ich oft mit Thranen
Mich nach dieser Kost zu sehnen!
Ach, wie pfleget mich zu dürsten
Nach dem Trank des Lebensfürsten!
Wunsche stets, dass mein Gebeine
Sich1 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).

(c)

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.
Lass mich durch dies Seelen-Essen
Deine Liebe recht ermessen,
Dass ich auch, wie jetzt auf Erden,
Mög’ ein Gast im Himmel werden.
B.G. xxxv. 322.

Form. Simple (Continuo). Choralgesänge, No. 304.

Cantata CLXXXII.

Himmelskönig, 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
Ist 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.

Sie werden euch in den Bann thun. Sixth Sunday after Easter (“Exaudi”)1 (? 1735)

For the melody of the concluding Choral, the anonymous “Helft mir Gott’s Güte preisen,” see Cantata 11.

The words of the Choral are the fifth stanza of Paul Gerhardt’s Whitsuntide Hymn, “Zeuch ein zu deinen Thoren,” first published in the Berlin (1653) edition of Crüger’s Praxis Pietatis 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 soll;
Dein Beten wird erhöret,
Dein Singen klinget wohl;
Es steigt zum Himmel an,
Es steigt und lasst nicht abe,
Bis der geholfen habe,
Der allein2 helfen kann.
B.G. xxxvii. 74.

Translations of the Hymn are noted in the Dictionary of Hymnology, p. 1300.

Form. Simple (2 Ob. d’amore, 2 Ob. da caccia, Strings, Continuo). Choralgesange, No. 126.

Cantata CLXXXIV.

Erwünschtes Freudenlicht. Whit Tuesday (? 1724)

Melody: “O Herre Gott, dein gottlich Wort”

Anon. 1527

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 sixteenth century texts.

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 selig1 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, Continuo). Choralgesange, No. 2832 .

Cantata CLXXXV.

Barmherziges Herze der ewigen Liebe. 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).

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 Herr1 , ich mein’,
Den wollest du mir geben,
Dir zu leben,
Mein’m Nachsten nutz zu sein2 ,
Dein Wort zu halten eben.
B.G. xxxvii. 118.

Form. Embellished (Tromba, Oboe, Fagotto, Strings, Continuo). Choralgesange, No. 184.

In the opening movement of the Cantata (B.G. xxvii. 103), the Soprano-Tenor Duetto “Barmherziges 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)3

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).

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 dir1 gewisser sein,
Und ob dein Herz2 sprach’ lauter Nein,
So lass dir doch3 nicht grauen.
B.G. xxxvii. 136.

Form. Extended (2 Ob., Strings, Continuo)4 .

Cantata CLXXXVII.

Es wartet Alles auf dich. Seventh Sunday after Trinity (1732)

Melody: “Da Christus geboren war”

Anon. 1544

Melody: “Singen wir aus Herzensgrund”

Anon. 1589

The melody of the concluding Choral is found first in the Gesangbuch der Bruder inn Behemen und Merherrn (Nürnberg, 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 fourteenth 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 c. 1560 and later in Hundert Christenliche Haussgesang (Nürnberg, 1569) and in Johann Eichorn’s Geistliche Lieder (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’t1 ,
Lasst’s an Nahrung mangeln nicht;
Berg und Thal, die macht er nass,
Dass dem Vieh auch wachst sein Gras;
Aus der Erden Wein und Brod
Schaffet Gott, und giebt’s uns satt,
Dass der Mensch sein Leben hat
Wir danken sehr und bitten ihn2 ,
Dass er uns geb’3 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, Continuo). Choralgesänge, No. 308.

Cantata CLXXXVIII.

Ich habe meine Zuversicht4 . Twenty-first Sunday after Trinity (1730 or 1731)

The melody of the concluding Choral is the anonymous “Auf meinen lieben Gott,” or “Wo soll ich fliehen hin” (see Cantata 5).

The words of the Choral are the first stanza of the Hymn, “Auf meinen lieben Gott,” attributed to Sigismund Weingartner, first published in Geistliche Psalmen, Hymnen, Lieder und Gebet (Nürnberg, 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 attached1 :

Auf meinen lieben Gott
Trau’ ich in Angst und Noth.
Er2 kann mich allzeit retten
Aus Trubsal, 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 (Continuo). Choralgesange, No. 253 .

Cantata CXC.

Singet dem Herrn ein neues Lied1 . Feast of the Circumcision (New Year’s Day) (c. 17252 )

(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, Continuo)

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).

(b)

The words and melody of the concluding Choral are Johann Hermann’s New Year Hymn, “Jesu, nun sei gepreiset” (see Cantata 41).

The words are the second stanza of the Hymn:

Lass’ uns das Jahr vollbringen,
Zu Lob dem Namen dein,
Dass wir demselben singen
In der Christengemein;
Wollst uns das Leben fristen
Durch dein’ allmächtig’ 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 Heuchler1 mach’ zu Schande
Hier und an allem Ort.
B.G. xxxvii. 257.

Form. Embellished (3 Trombe, Timp., 3 Ob., Strings, Continuo). Choralgesange, No. 205.

Cantata CXCII.

Nun danket alle Gott (c. 17322 )

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 Crüger’s setting of the Hymn (see Cantata 79).

(a)

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 allen Enden;
Der uns von Mutterleib
Und Kindesbeinen an
Unzählig viel zu gut
Und noch jetzund gethan.
B.G. xli. 67.

Form. Choral Fantasia (2 Fl., 2 Ob., Strings, Continuo).

(b)

The words of the concluding Choral are the third stanza of Rinkart’s Hymn:

Lob, Ehr’ und Preis sei Gott,
Dem Vater und dem Sohne
Und Dem, der Beiden gleich,
In hohen1 Himmelsthrone.
Dem dreieinigen2 Gott,
Als der3 ursprunglich war,
Und ist und bleiben wird
Jetzund und immerdar.
B.G. xli. 88.

Form. Choral Fantasia (2 Fl., 2 Ob., Strings, Continuo).

Cantata CXCIV.

Hochsterwünschtes Freudenfest1 . 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 Betrubten Trost und Freud’!
- * Allen Glauben den ich find’2 :
- Hast3 du in mir angezund’t,
- Über mir in4 Gnaden walte,
- Ferner deine Grad’5 erhalte.
- Deine Hulfe zu mir sende,
- O du edler Herzensgast!
- Und das gute Werk vollende,
- Das6 du angefangen hast.
- Blas’ in mir das Funklein7 auf,
- Bis dass nach vollbrachten Lauf
- Ich den8 Auserwahlten gleiche
- Und9 des Glaubens Ziel erreiche.
- B.G. xxix. 124.

Form. Simple (3 Ob., Strings, Continuo). Choralgesange, No. 100.

(b)

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 Crüger’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.
- Mit1 Segen mich beschutte2 :
- Mein Herz sei deine Hütte;
- 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). Choralgesange, No. 268.

Cantata CXCV.

Dem Gerechten muss das Licht1 . For a Wedding (? c. 17262 )

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 Crüger’s Praxis Pietatis Melica:

Nun danket all’ und bringet Ehr’,
Ihr Menschen in der Welt,
Dem, dessen Lob der Engel Heer
Im Himmel stets vermeldt3 .
B.G. xiii. (i) 70.

Form. Embellished (2 Corni, Timp., 2 Fl., 2 Ob., Strings, Continuo). Choralgesange, No. 236.

Cantata CXCVII.

Gott ist uns’re Zuversicht. For a Wedding4 (c. 1740)

(a)

The words and melody of the concluding movement of Part I (Vor der Trauung) of the Cantata are Luther’s “Nun bitten wir den heiligen Geist” (see Cantata 169).

The words are the third stanza of the Hymn:

Du susse 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) 128.

Form. Simple1 . Choralgesange, 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 21).

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 eures Gottes Segen,
Denn der ist alle Morgen neu2 :
Denn welcher seine Zuversicht
Auf Gott setzt, den verlasst er nicht.
B.G. xiii. (i) 144.

Form. Simple (Continuo). Choralgesänge, No. 370.

Cantata CXCIX.

Mein Herze schwimmt im Blut. Eleventh Sunday after Trinity (c. 17141 )

The melody of the sixth movement is Caspar Stieler’s (?) “Wo soll ich fliehen hin” (see Cantata 163).

The words of the Choral are the third stanza of Johann Heermann’s Hymn, “Wo soll ich fliehen hin” (see Cantata 5):

Ich Dein betrubtes 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, Continuo [con Violone]).

[1 ] An English version of the Cantata, “How brightly shines,” is published by Novello & Co.

[1 ] See Spitta, iii. 101.

[1 ] An English version of the Cantata, “Ah God, in mercy look from Heaven,” is published by Breitkopf & Haertel.

[1 ] 1524 das.

[2 ] 1524 lesst nicht.

[3 ] On the movement, see Parry, p. 380.

[4 ] 1524 dise.

[1 ] An English version of the Cantata, “O God, how many pains of heart,” is published by Breitkopf & Haertel.

[1 ] Zahn, vol. i. No. 532.

[1 ] 1587 Herr.

[2 ] See p. 44 supra.

[1 ] 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.

[1 ] See Spitta, ii. 392.

[1 ] 1524 Der.

[2 ] 1524 und dankbar.

[1 ] 1524 abgethon.

[2 ] 1524 wunderlich.

[3 ] 1524 Das leben behielt.

[4 ] 1524 verkundet.

[5 ] 1524 gepotten.

[6 ] 1524 Das ist an des.

[1 ] 1524 uns nicht ruren.

[2 ] 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.

[1 ] Zahn, vol. ii. No. 2160.

[2 ] 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.

[1 ] 1630 kan.

[2 ] See Spitta, iii. 101, on the form of the movement.

[1 ] English versions of the Cantata are published by Novello & Co., “Bide with us,” and Breitkopf & Haertel, “Stay with us, the evening approaches.”

[* ]Unverfalschter 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 Schubler Chorals (N. xvi. 10).

[1 ] In this Chorus, Schweitzer remarks (ii. 363), Bach paints on a large scale the picture he had already sketched in the Choral Preludes upon the melody. The movement assumes the form of a Concerto grosso, the concertino consisting of a Solo Violin and two oboi d’amore (Spitta, iii. 103).

[1 ] 1543 im Geist.

[2 ] 1543 heilen thut.

[3 ] An English version of the Cantata, “When will God recall my spirit?” is published by Novello & Co.

[1 ] See p. 32 supra.

[1 ] 1524 das las dir.

[2 ] 1524 fleisch.

[3 ] An English version of the Cantata, “My soul doth magnify the Lord,” is published by Breitkopf & Haertel.

[1 ] The movement is No. 4 of the Schuble’ Chorals (N. xvi. 8).

[1 ] 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.

[* ] A syllable is wanting in the third period of the melody.

[1 ] For Figulus’ first melody, see Bach’s Chorals, Part I, p. 63.

[2 ] See Bach’s Chorals, Part I, p. 63.

[1 ] 1714 wir ihn werden.

[1 ] English versions of the Cantata are published by Novello & Co., “Wailing, crying, mourning, sighing,” and by Breitkopf & Haertel, “Weeping, wailing, mourning, fearing.”

[1 ] 1636 dei.

[1 ] See Bach’s Chorals, Part I, p. 5.

[1 ] 1642 goschaffen.

[2 ] 1642 Weiss allen Sachen Raht. Bach’s line is a variant reading as old as 1670 (Fischer-Tumpel, i. 435).

[1 ] 1524 must.

[2 ] See Spitta, iii. 66; Parry, p. 420.

[1 ] 1535 Dich Vater.

[1 ]c. 1580 Christum.

[2 ]c. 1580 forder.

[3 ]c. 1580 frolich.

[1 ] 1540 man.

[2 ] 1540 Got.

[1 ] 1524 wurd.

[1 ] 1620 Mit. Bach’s version follows Schein.

[2 ] 1620 Mit Ehr wird.

[3 ] The Taille was a Tenor Bassoon.

[1 ] See p. 32 supra.

[1 ] 1642 hin mich wende.

[1 ] 1642 nie.

[1 ] English versions of the Cantata are published by Novello & Co., “My spirit was in heaviness,” and Breitkopf & Haertel, “I had great heaviness of heart.”

[2 ] The Score is inscribed, “Per ogni tempo.” The Cantata is appropriate particularly to the Third Sunday after Trinity, by whose Epistle it was suggested.

[1 ] 1657 Gott der.

[1 ] 1524 dancken.

[1 ] An English version of the Cantata, “Thou very God, and David’s Son,” is published by Breitkopf & Haertel.

[2 ] First performed in 1724, the Cantata probably was composed at Cothen. See Spitta, ii. 350.

[1 ] 1630 guter.

[1 ] 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, ii. 466-7, on the movement.

[1 ] The movement should be compared with the Prelude upon the melody in the Orgelbuchlein (N. xv. 121).

[1 ] 1652 wird.

[2 ] 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?”

[1 ] See p. 44 supra.

[1 ] The melody and Bass had appeared three years earlier in Johann Quirsfeld’s Geistlicher Harffen-Klang (Leipzig, 1679).

[1 ] See Spitta, ii. 452 n.

[1 ] English versions of the Cantata are published by Novello & Co., “O praise the Lord for all His mercies,” and Breitkopf & Haertel, “Praise God! the year draws to its closing.”

[2 ] Wustmann suggests c. 1736.

[3 ] 1540 Und was.

[4 ] 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 substitution of the fifth for the first stanza of Graumann’s Hymn. See Spitta, ii. 716.

[1 ]c. 1580 forder.

[2 ]c. 1580 frolich.

[3 ] The Taille was a Tenor Bassoon.

[1 ] An English version of the Cantata, “Come rejoice, ye faithful,” is published by Breitkopf & Haertel.

[2 ] The Cantata is founded upon an earlier secular work. See Spitta, iii. 77.

[1 ] Schweitzer, ii. 141 n., suggests c. 1723 as the date of Bach’s revision of the 1715 work to the form in which we have it.

[2 ] Wackernagel, iii. 1212, prints from a text of c. 1575.

[3 ]c. 1575 Ich fahr dahin.

[4 ]c. 1575 hend.

[5 ]c. 1575 war Gottes son.

[6 ]c. 1575 Dei wird uns Chor und tempel.

[7 ]c. 1575 Ein lassen zu dem.

[8 ] The Taille was a Tenor Bassoon.

[1 ] An English version of the Cantata is published by Breitkopf & Haertel, “Blessed Jesus, priceless treasure.”

[* ]sic.

[1 ]c. 1541 ist.

[2 ]c. 1541 Dich ruff ich an.

[3 ]c. 1541 all mein.

[4 ]c. 1541 einigen.

[5 ]c. 1541 Der woll uns all behuten.

[6 ]c. 1541 Auch.

[7 ]c. 1541 im in.

[1 ] A revision of an earlier (1726) work. See Spitta, ii. 158, 471.

[2 ] From Michael Weisse’s Ein New Gesengbuchlen (Jung Bunzlau, 1531), where the melody is set to Weisse’s Hymn, “Von Adam her so lange Zeit.”

[1 ] 1524 thon.

[1 ] 1599 ihm.

[1 ]c. 1535 Wie.

[2 ] An English version of the Cantata, “From depths of woe I call on Thee,” is published by Novello & Co.

[1 ] 1524 Deyn gnedig oren ker zu myr.

[1 ] An English version of the Cantata, “Give the hungry man thy bread,” is published by Novello & Co.

[1 ] An English version of the Cantata, “To this end appeared the Son of God,” is published by Breitkopf & Haertel.

[1 ] See Bach’s Chorals, Part I, p. 51.

[2 ] 1592 uns.

[3 ] 1592 ist kommen.

[4 ] 1592 dieser.

[5 ] 1592 jetzt uns.

[1 ] 1653 Schutte.

[2 ] 1653 entzuckt.

[1 ] An English version of the Cantata, “Jesus, now will we praise Thee,” is published by Novello & Co.

[1 ] 1593 Behut uns Leib.

[2 ] 1593 das.

[3 ] Wackernagel, v. 195, prints from a text of 1593.

[4 ] See Spitta, iii. 101, on the hybrid form of the movement.

[5 ] 1593 getrost.

[6 ] 1593 Vaters Reich.

[1 ] See Wustmann, p. 281.

[2 ]c. 1632 du.

[3 ]c. 1632 Ob schon.

[4 ]c. 1632 gantz.

[5 ]c. 1632 lang mehr.

[1 ] 1535 denn.

[2 ] 1566 aller.

[3 ] 1566 geruhlich.

[4 ] An English version of the Cantata, “God goeth up with shouting,” is published by Novello & Co.

[1 ] 1641 Den du uns durch den.

[2 ] 1641 Wo ich ohn’ Ende.

[3 ] An English version of the Cantata, “You will they put under ban,” is published by Breitkopf & Haertel.

[4 ] The Sunday is the First after Ascension Day.

[1 ] 1642 geschaffen.

[2 ] 1642 Weiss allen Sachen Raht. Bach’s last line appears in a recension of the Hymn dated 1670.

[* ]sic.

[1 ] Vol. ii. p. 125, No. 280.

[2 ] Vol. ii. p. 428.

[3 ] 1638 von.

[4 ] Both instruments are said to have been a combination of Tromba and Trombone.

[1 ] Wackernagel, iv. 128, prints the text under Georg Aemilius Oemler.

[2 ]c. 1560 mich.

[1 ] Closely follows Cruger’s version of the minor.

[1 ] Vol. i. No. 52.

[2 ] See the Dictionary of Hymnology, p. 982.

[3 ] 1613 ja.

[1 ] 1620 liebster.

[1 ] Into this Cantata Bach incorporates the last movement of the Clavier Concerto in E major. See also Nos. 110, 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 1737, when that Festival and the Fifteenth Sunday after Trinity coincided.

[1 ] 1533 mein Gotte.

[2 ] The Introduction to the Cantata is the opening movement of the first Brandenburg Concerto.

[1 ] An English version of the Cantata, “I with my cross-staff gladly wander,” is published by Breitkopf & Haertel.

[1 ] 1653 in.

[2 ] 1653 herein.

[3 ] The Taille was a Tenor Bassoon.

[1 ] The Taille was a Tenor Bassoon.

[1 ] 1611 Darauff.

[2 ] 1611 hast dein Blut.

[1 ] 1524 glast.

[1 ] 1642 hin mich wende.

[2 ] 1642 Hertz erbebt.

[1 ] 1662 inn.

[2 ] 1662 feuchter.

[1 ] English versions of the Cantata, “Come, Thou blessed Saviour, come,” are published by Breitkopf & Haertel, and by Novello & Co., “Come, Redeemer of our race.”

[2 ] See Spitta, iii. 101.

[1 ] Schweitzer includes the Cantata in the 1728-34 period (ii. 242 n.). Wustmann dates it c. 1740.

[1 ] 1524 thon.

[1 ] 1653 du.

[2 ] An English version of the Cantata, “The sages of Sheba,” is published by Novello & Co.

[1 ] See Bach’s Chorals, Part I, p. 11.

[2 ] 1647 du.

[3 ] 1647 and Bach’s ms. Nutz.

[4 ] 1647 ihr.

[1 ] The melody of stanza ii is identical with that of stanza i.

[1 ] Orig. scholl.

[2 ] An English version of the Cantata, “Hold in remembrance Jesus Christ,” is published by Breitkopf & Haertel.

[1 ]Ein Schlesich singebuchlein aus Gottlicher schrifft (Breslau. 1555).

[1 ] An English version of the Cantata, “God so loved the world,” is published by Novello & Co.

[2 ] Schweitzer, ii. 263, gives the date as 1731. The Cantata in part is constructed out of a secular work composed in 1716. See Spitta, i. 567.

[1 ] Spitta, iii. 114, wrongly regards it as an original melody by Bach.

[2 ] 1675 mit.

[1 ] The Taille was a Tenor Bassoon.

[2 ] Also adapted c. 1730 for use as a Rathswahl Cantata. Hence its festival character.

[1 ] 1524 Nu.

[1 ]ii. 692.

[2 ] An English version of the Cantata, “Watch ye, pray ye,” is published by Novello & Co.

[3 ] Originally, for the Second Sunday in Advent (Spitta, i. 570). In its present form the Cantata’s date probably is 1723. The Recitativi represent Leipzig additions to the original Franck text (Wustmann, p. 293).

[1 ] 1658 stohnet.

[2 ] 1658 wunscht sie.

[3 ] 1658 freyet.

[1 ] See Bach’s Chorals, Part I, 58.

[1 ] 1630

Das ich mit Ehren trag
All meine grawe Haar.

Bach’s last two lines are taken from the 1636 edition of the Devoti 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 Sopiano (having the Choral melody), Tenor (having an independent Aria), and an accompanying Continuo.

[1 ] Wustmann (p. 277) suggests a date before 1723.

[2 ]c. 1554 aller beste.

[3 ]c. 1554 Er trost die Welt.

[1 ] 1582 Lass mich, Herr.

[2 ] See Spitta, ii. 414, and p. 44 supra.

[1 ] 1569 geschaffen.

[2 ] 1569 Erworben und Genad.

[3 ] 1569 Gott.

[1 ] The Cantata is an elaboration of No. 59. See Spitta, i. 511.

[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.”

[2 ] 1676 nichts.

[1 ] Vol. ii. 150. See also Spitta, ii. 355.

[2 ] 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.

[1 ] 1524 Nu.

[1 ] Vol. ii. 430.

[1 ] See Spitta, ii. 430, on the relation of the movement to the Organ Chorals. He regards it as a development between the earlier Orgelbuchlein (N. xv. 103) and the later Clavierubung (N. xvi. 42) Preludes.

[2 ] Spitta, ii. 429, remarks that the ms. indicates haste and lack of leisure.

[3 ] 1657 Herr Jesu, du stellst selber dich.

[4 ] 1657 Verleih, das dem zu folge ich.

[5 ] 1657 Die lieb am nechsten ube.

[1 ] 1657 in.

[2 ] 1657 Lieb, trew.

[3 ] 1657 Wie ich mirs wunsch, erweise.

[4 ] The Score does not indicate the instrumentation.

[1 ] 1641 Sunden Noth.

[1 ] The movement is built upon the same ground Bass as the Crucifixus of the B Minor Mass.

[2 ] 1641 Lass uns ja verderben nicht.

[3 ] The last four lines of the second Recitativo are from the tenth stanza of the Hymn.

[1 ] An English version of the Cantata, “The Lord is a Sun and Shield,” is published by Novello & Co.

[1 ] English versions of the Cantata are published by Novello & Co., “A stronghold sure,” and Breitkopf & Haertel, “A stronghold sure is God our Lord.”

[2 ] The work is the enlargement of an early (1716) Cantata. “Alles was von Gott geboren” (Spitta, i. 563), written for the Third Sunday in Lent.

[3 ] See p. 33 supra.

[1 ] 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.

[2 ] 1535 hat selbs.

[3 ] 1535 Jhesu.

[1 ] 1535 wolt uns gar.

[2 ] 1535 nicht.

[3 ] 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 manet regnum Dei.

[1 ] 1535 Nemen sie den Leib.

[2 ] Erk, i. 114 (No. 24), gives the instrumentation of the movement as: 3 Trombe, Flauto, Oboe da caccia, 2 Ob., Strings, Organ, Continuo.

[3 ] English versions of the Cantata are published by Novello & Co., “Jesus sleeps, what hope remaineth?” and Breitkopf & Haertel, “Jesus sleeps, vain all my hoping.”

[* ] In later texts a ♭ here.

[1 ] 1524 leuchten.

[1 ] The B.G. title page bears the date 1729.

[2 ] 1695 mein Gott es.

[3 ] 1695 Mach.

[1 ] A Score of this Cantata is also in the Neue Bachgesellschaft, ix. (i) 1908.

[2 ] Johann Spangenberg’s Kirchengesenge Deudtsch (Magdeburg).

[1 ] 1530 gwaltig.

[2 ] 1530 Geyst.

[3 ] 1530 unnd war.

[4 ] 1530 Der.

[5 ] 1530 in.

[6 ] 1530 heylig.

[7 ] In the B.G. Score the voice is not stated.

[1 ] A Score of this Cantata is published by the Neue Bachgesellschaft, vii. (i) 1907.

[2 ] The Taille was a Tenor Bassoon.

[1 ] See p. 44 supra.

[1 ] 1647 mir.

[2 ] 1647 Das.

[1 ] See p. 44 supra.

[2 ] 1647 mach es du mit mir.

[1 ] 1647 so trat ich.

[2 ] English versions of the Cantata are published by Novello & Co., “If thou but sufferest God to guide thee,” and Breitkopf & Haertel, “He who relies on God’s compassion.”

[3 ] See p. 32 supra.

[1 ] Spitta, ii. 439.

[2 ] 1657 Der.

[3 ] 1657 Ihn.

[4 ] 1657 aller Noht.

[5 ] See Spitta, ii. 439, on the form of this Chorus.

[1 ] 1657 Beseuftzen unser Ungemach.

[2 ] 1657 Nur grosser durch die Traurigkeit.

[3 ] See p. 44 supra.

[4 ] See Spitta, ii. 438, on the form of this movement.

[1 ] The movement is No. 3 of the Schübler Chorals (N. xvi. 6).

[1 ] 1657 Und dass Gott der.

[2 ] See p. 44 supra.

[1 ] See Spitta, iii. 101, on the form of the movement.

[2 ] See p. 44 supra.

[1 ] See p. 44 supra.

[1 ] 1609 Fried.

[2 ] 1524 Ynn.

[3 ] See Spitta, ii. 462, and Schweitzer, ii. 248, on the structure of this funerary Cantata. The first movement may be placed also in the Dialogus group.

[1 ] See Bach’s Chorals, Part I, pp. 34-35.

[2 ] 1614 nichts.

[1 ] 1614 ehrlich.

[2 ] 1614 wer.

[3 ] 1562 Mein höchster trost dein.

[4 ] 1562 sie.

[1 ] 1524 dancken.

[2 ] 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 Bach’s Chorals, Part I, 5.

[1 ] 1642 geschaffen.

[2 ] 1642 Dein.

[1 ] 1676 seine.

[2 ] The Taille was a Tenor Bassoon.

[3 ] See p. 32 supra.

[1 ] 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, ii. 242 n., conjectures that Bach used it as a Wedding Cantata, and dates it in the early thirties. Spitta, ii. 460, puts it c. 1735 or 1736. Wustmann marks it “um 1735.” Every movement of the Cantata is a stanza of the Hymn.

[1 ] 1676 seine.

[1 ] 1584 Ruth.

[2 ] The Taille was a Tenor Bassoon.

[3 ] A suggestion of the melody will be noticed in bars 18-21 of the accompaniment in the second movement.

[1 ] See p. 44 supra.

[1 ] See Spitta, iii. 97-98, upon the Arie-Choral movement.

[2 ] 1584 und.

[3 ] 1584 Ach lass es dir zu Hertzen gehn!

[4 ] See p. 44 supra.

[5 ] Bach’s ms. Die.

[1 ] 1630 Seel und Leib.

[1 ] 1653 ewges heyl.

[2 ] An English version of the Cantata, “Thou Guide of Israel,” is published by Novello & Co.

[1 ] The Taille was a Tenor Bassoon.

[2 ] 1641 je.

[3 ] See Spitta, ii. 426.

[1 ] 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 Wermar, in 1711. Schweitzer, ii. 125, conjectures that the libretto was written by Bach himself.

[1 ] 1533 Sei Gott vatern.

[2 ] See Spitta, i. 463, on the movement.

[1 ] 1630 Thu den nur hertzlich lieben.

[1 ] 1630 Vertraw dich.

[2 ] 1630 fodern.

[3 ] The preceding movements are set to the six stanzas of Heermann’s Hymn. The addition of an alien stanza is irregular.

[1 ] 1524 wurdet nicht.

[2 ] See Spitta (iii. 78) on this Cantata. It is partly constructed out of the Overture of an Orchestral Suite (D major). See Cantatas 49, 146, 169, 174, 188 for other instances of the same process.

[3 ] 1592 Alleluia. Bach’s line follows Martin Fritzsch’s Dresden Gesangbuch of 1593.

[1 ]c. 1554 aller beste.

[2 ]c. 1554 Er tröst die Welt.

[3 ] Bach here combines the Choral Fantasia and instrumental Concerto forms. See Spitta, iii. 103.

[1 ]c. 1554 Herr.

[2 ]c. 1554 Hillf unnd auch wehr.

[3 ] An English version of the Cantata, “The Lord is my Shepherd,” is published by Novello & Co. Every movement of the Cantata is a stanza of the Hymn.

[1 ] 1533 Der Heire ist mein trewer.

[1 ] 1533 lauffen.

[2 ] 1533 der Christlichen.

[3 ] 1533 Tode.

[1 ] 1588 der Genaden.

[2 ] Bach here combines the Choral Fantasia and instrumental Concerto forms. See Spitta, iii. 103.

[3 ] 1588 im.

[4 ] 1588 Und.

[5 ] 1588 vorzage.

[1 ] 1588 Aber.

[2 ] 1588 Und was.

[3 ] 1588 es.

[4 ] 1588 Denen die.

[5 ] 1588 Zu dir, O Jesu.

[6 ] See p. 44 supra.

[7 ] In the fifth movement (B.G. xxiv. 69) the Tenor Aria, “Jesus nimmt die Sünder an,” the last line of the melody is brought forward prominently each time to the words, “dein’ Sund’ ist dir vergeben.” This seems to be the only instance of Bach’s setting a Choral melody to new words. See Spitta, iii. 96.

[1 ] 1588 rechten.

[2 ] The orchestiation is not indicated, and there is no Continuo part.

[1 ] 1561 Solches bekenn ein.

[1 ] 1561 Wie warten hie.

[2 ] 1561 Sind wir doch ja.

[1 ] An English version of the Cantata, “Christian stand with sword in hand,” is published by Breitkopf & Haertel.

[1 ] An English version of the Cantata, “O Jesu Christ, Thou Prince of Peace,” is published by Novello & Co.

[2 ] 1601 doch.

[1 ] The Score does not indicate the occasion for which the Cantata was designed. Every movement of the Cantata is a stanza of the Hymn.

[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.

[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.

[1 ] The Cantata probably had served for the celebration of the Augsburg Confession in Leipzig, June 26, 1730 (Spitta, ii. 469).

[1 ] 1535 tewrn Blut.

[2 ] 1535 das.

[1 ] 1524 Mit.

[1 ] See p. 33 supra.

[2 ] The Taille was a Tenor Bassoon.

[1 ] 1597 mag.

[2 ] 1597 Trotz Türcken, Bapst und.

[3 ] 1597 es ist itzt.

[* ]sic.

[1 ] 1679 Trost.

[2 ] 1679 doch.

[3 ] 1679 Denn du hast mir, mein Schatz, das.

[1 ] 1679 Wenn ich, mein Jesu, dich nur stets behalt.

[2 ] Spitta, iii. 102, draws attention to Bach’s evident desire to conceal the secular character of the melody, which is a sarabande in form.

[3 ] 1679 Drumb fahret immerhin.

[4 ] 1679 Mund und Herze sein.

[5 ] 1679 Bis man mich leget in das.

[1 ] See Cantata 70 for the acrostic of this stanza.

[2 ] 1659 wer.

[1 ] 1524 Ynn nott und sterben.

[2 ] See p. 44 supra.

[1 ] 1524 leuchten.

[1 ] 1543 Wolten sturtzen von deinem thron.

[2 ] See Spitta, iii. 101, on the form of the movement.

[1 ] 1535 denn.

[2 ] 1566 geruhlich.

[1 ] See Spitta, iii. 101, on the form of the movement.

[1 ] Every movement of the Cantata is a stanza of the Hymn.

[1 ] Sung to the words of the French chanson:

Il n’y a icy celluy
Qui n’ait sa belle amye.
Je ne le dy pas pour my,
La myenne n’y est mye.
Elle est bien a son plaisir,
Celle qui a son desir,
Elle est bien a son plaisir,
Mais je ne l’ouse dire.

[1 ] Zahn, i. No. 460.

[1 ] The melody is printed supra from Gaston Paris and Auguste Gevaert’s Chansons du XV^e siècle, publiées d’après le manuscrit de la Bibliothèque nationale de Paris (Paris, 1875).

[2 ] See (b) infra.

[1 ]c. 1554 du wolst.

[2 ] Erk, No. 220, and Choralgesange, No. 130, print a setting of the melody in Simple form orchestrated for 2 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. Bernhard Friedrich Richter, in the Choralgesange, questions its genuineness.

[1 ] The Score does not indicate the occasion for which the Cantata was composed. The B.G. edition bears the statement, “Componirt zu Mühlhausen 1707-1708.”

[2 ] 1588 im.

[3 ] 1588 fur.

[4 ] 1588 Und.

[5 ] 1588 vorzage.

[6 ] See Spitta, i. 451, on the construction of this movement.

[1 ] 1588 gerne mocht.

[2 ] 1588 absoluiret.

[3 ] See Spitta, i. 454.

[4 ] See Schweitzer, ii. 142.

[1 ] 1524 dancken.

[2 ] The Score simply contains the stanza, the name of the tune, and the direction “Choral semplice stylo.”

[1 ] The other melody is “Alle Menschen mussen sterben.” See Cantata 162.

[2 ] B.G. xxviii. p. xxv. It is printed supra, p. 391.

[1 ] 1697 Mein.

[1 ] See Bach’s Chorals, Part I, p. 8.

[2 ] 1597 Nicht straff.

[1 ] 1597 erlinder.

[2 ] 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 Christlicher Psalmen und Kirchenlieder (Dresden, 1625).

[1 ] Rust suggests the second Leipzig period.

[2 ] 1630 selig.

[1 ] 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).

[1 ] Rust dates it c. 1730.

[1 ]c. 1560 Herren unnd Gott.

[2 ] See Spitta, iii. 88, on the movement. It has relations with the Dialogus type.

[3 ]c. 1560 dich verlassen.

[4 ]c. 1560 Mein.

[5 ]c. 1560 mir.

[1 ] See Spitta, iii. 101, on the movement.

[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.”

[3 ] The Sunday, only occurring when Easter falls early, becomes the Sunday before Advent.

[4 ] Rust dates it 1742.

[1 ] See supra, p. 32.

[2 ] See infra, p. 495.

[1 ] The Taille was a Tenor Bassoon.

[1 ] 1599 von.

[2 ] The movement is No. 1 of the Schübler Chorals (N. xvi. 1).

[1 ] 1599 mehr.

[2 ] Bach’s authorship of this Cantata has been challenged (Bachjahrbuch, 1912, p. 132).

[3 ] 1592 Alleluia. Bach’s line appears in a text of 1593.

[1 ] The subject was suggested, no doubt, by the War of the Polish Election, in which Bach’s sovereign, Augustus III of Poland-Saxony, was closely interested. The war was brought to a conclusion in his favour in 1735.

[1 ] 1601 itzundt.

[2 ] 1601 schallen.

[1 ] Bach’s ms. Will der.

[2 ]c. 1554 der ist der aller beste.

[3 ]c. 1554 Er trost die Welt.

[1 ] 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, ii. 442 n. He quotes the Cantata by the title of the opening Choral, “Auf, mein Herz! des Herren Tag.”

[1 ] The orchestration is not stated.

[1 ] In the Cantata Bach uses the Allegro of the Concerto for two Violins or Clavier (D minor) as a symphony, and the Chorus that follows is its Adagio section. Bach uses the same Concerto in Cantata No. 188. See also Nos. 49, 110, 169, 174. Bach’s authorship of Cantata 146 has been challenged (Bachjahrbuch, 1912).

[2 ] Only the vocal parts are printed in the Score.

[1 ] Spitta, ii. 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.

[1 ] 1661 Und sein Leben fur mich giebet.

[2 ] 1661 das.

[3 ] 1661 steuret.

[4 ] 1661 O! drumb lass.

[1 ] 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 (ii. 694). Erk, No. 13, proposes stanza vi of Sigismund Weingartner’s (?) “Auf meinen lieben Gott”:

Amen! zu aller Stund’
Sprech’ ich aus Herzensgrund:
Du wollest selbst uns leiten,
Herr Christ, zu allen 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, ii. 445, on the source of the Cantata.

[1 ] See Bach’s Chorals, Part I, p. 39.

[1 ] 1571 An meinem end mein Seelelem.

[1 ] 1646 und die. Bach’s text follows the edition of 1652.

[2 ] 1646 Das Fleisch geschwind verfuhren. In the 1652 edition the line reads: Mich leicht in sunde sturtzen.

[1 ] 1653 Hie.

[1 ] 1659 Jesum lass ich nicht von mir.

[2 ] 1659 wer.

[1 ] 1524 das las dir.

[2 ] 1524 fleisch.

[1 ] 1628 Ruff ich dich an.

[2 ] 1628 wil.

[3 ] See Spitta, ii. 441, on the movement.

[1 ] The penultimate note of the third bar is C instead of B.

[2 ] 1582 Lass mich, Herr.

[3 ] 1582 Denn dein Will.

[1 ] See Spitta, ii. 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.

[3 ] See Spitta, ii. 687, on the Cantata.

[1 ] 1668 stoltze Ruh. Bach follows the 1672 text.

[2 ] 1668 Freud. Bach follows the 1672 text.

[3 ] 1524 Gott hat.

[4 ] 1524 Das ist an.

[1 ] 1656 Wann.

[2 ] 1656 hertz. Bach’s line is found in a 1667 text.

[1 ] See the melody in Bach’s Chorals, Part I. p. 27.

[1 ] 1633 auff.

[2 ] 1633 Uns.

[1 ] 1611 Dort wird erwecket werden.

[2 ] 1611 ohn alle noth.

[3 ] 1611 mir der Todt?

[1 ] See Cantata 133.

[2 ] Vol. ii. No. 159.

[3 ] Vol. iii. 115.

[1 ] Another tune printed by Erk, No. 158, as Rosenmuller’s is in fact by Jakob Hintze (1622-1702).

[2 ] Zahn, iv. No. 6777.

[1 ]Orgelbuchlein, N. xv. 119.

[1 ] 1652 Alle diese.

[2 ] 1652 Und.

[3 ] 1652 Stehe da für.

[4 ] 1652 Die ich nicht beschreiben kan.

[1 ] Vol. i. 557.

[2 ] Spitta incorrectly supposes that the melody is that of Cantata 5 in the major.

[3 ] Vol. i. 557.

[4 ] 1630 und dich.

[1 ] Only the figured Bass, under the title “Choral. In semplice stylo,” is given.

[2 ] 1524 Und dancken.

[1 ] 1586 So bitt ich.

[2 ] 1586 fahren.

[1 ] An English version of the Cantata “Ye mortals, extol the love of the Father,” is published by Breitkopf & Haertel.

[1 ] 1588 rechten.

[1 ] The Taille was a Tenor Bassoon.

[2 ] Into this Cantata Bach incorporates the first two movements of the E major clavier Concerto. See also Nos. 49, 110, 146, 174, 188.

[3 ] 1593 Vaters Reich.

[1 ] Excepting a difference of key (C major instead of D major) the movement is identical with the concluding Choral of Cantata 41. In the Choralgesange the movement is printed in C major.

[1 ] 1571 gut.

[2 ] 1571 nit frewet mich.

[3 ] 1571 nit frag ich.

[4 ] 1571 Und.

[5 ] 1571 doch du.

[6 ] 1571 theil.

[1 ] The Taille was a Tenor Bassoon.

[2 ] The Introduction to the Cantata is the first movement of the third Brandenburg Concerto.

[1 ] Every movement of the Cantata is a stanza of the Hymn.

[2 ] Wackernagel, iii. 54, prints from a 1531 text.

[1 ] 1531 nutz sein.

[1 ] 1524 Der.

[2 ] See p. 44 supra.

[1 ] 1524 Zu.

[2 ] 1524 hoch.

[1 ] 1524 anschlag ist.

[2 ] 1524 wol.

[1 ] 1663 vor.

[2 ] An English version of the Cantata, “Soul, array thyself with gladness,” is published by Breitkopf & Haertel.

[1 ] 1653 Wil.

[2 ] 1653 jtzt.

[1 ] 1653 Mich.

[1 ] The Sunday is the First after Ascension Day.

[2 ] 1653 allen.

[1 ] 1527 willig.

[2 ] Spitta, ii. 399, supposes that the Choral, which precedes the final Chorus, was inserted when the Cantata was adapted, 1724 (?), to Church use. His inference appears to be incorrect. See Schweitzer, ii. 162.

[1 ] 1531 glauben, Herr.

[2 ] 1531 nutz sein.

[3 ] See Wustmann, p. 287.

[1 ] 1524 das las dir.

[2 ] 1524 fleisch.

[3 ] 1524 doch dir.

[4 ] On the analogy of Cantatas 75 and 76 Spitta (ii. 360) holds that the Choral was repeated at the close of Part II of the Cantata. Schweitzer (ii. 152) calls the movement “almost” a Choral Fantasia.

[1 ] 1569 Erden zugericht.

[2 ] 1569 Dancken wir sehr, bitten in.

[3 ] 1569 Das er geb.

[4 ] Wustmann, p. 298, contests the authenticity of this Cantata and attributes the greater part of it to Bach’s eldest son.

[1 ] Wackernagel, v. 433, prints two versions of the Hymn, dated 1609 and 1611, under the name of Theodor von Someren.

[2 ] 1609 Der.

[3 ] In this Cantata, as in No. 146, Bach makes use of Concerto for Clavier or two Violins (D minor). See also Nos. 49, 110, 169, 174.

[1 ] 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, ii. 387).

[1 ] 1593 Teuffel.

[2 ] The occasion for which the Cantata was composed is not stated. It is incomplete; the vocal Tenor part is wanting throughout. Every movement is a stanza of the Hymn.

[1 ] 1648 hochsten.

[2 ] 1648 dreymahl Einem.

[3 ] 1648 er.

[1 ] Bach later adapted the Cantata to Trinity Sunday, 1731.

[* ] These lines are found in the 1644 edition of Heermann’s Devoti Musica Cordis.

[2 ] 1630 So viel ich an Glauben find.

[3 ] 1630 Der.

[4 ] 1630 mit.

[5 ] 1630 Gab.

[6 ] 1630 Was.

[7 ] 1630 Blass das kleine Funcklein.

[8 ] 1630 Allen.

[9 ] 1630 Ich.

[1 ] 1647 Mich.

[2 ] 1647 behute.

[1 ] An English version of the Cantata, “For the righteous the light hath awakened,” is published by Breitkopf & Haertel.

[2 ] See Spitta, ii. 468.

[3 ] Only the first line is printed in the Score.

[4 ] Bach incorporated into this work the Christmas Cantata, “Ehre sei Gott” (No. U 1).

[1 ] The orchestration is not stated in the Score.

[2 ] 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.

[1 ] 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.

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THE CANTATAS - Johann Sebastian Bach, Bach’s Chorals, vol. 2 The Hymns and Hymn Melodies of the Cantatas and Motetts [1917]

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THE CANTATAS

Cantata I.

Wie schön leuchtet der Morgenstern1 . Feast of the Annunciation of the B.V.M. (c. 1740)

(a)

(b)

Cantata II.

Ach Gott, vom Himmel sieh darein1 . Second Sunday after Trinity (c. 1740)

(a)

(b)

Cantata III.

Ach Gott, wie manches Herzeleid1 . Second Sunday after the Epiphany (c. 1740)

(a)

(b)

(c)

Cantata IV.

Christ lag in Todesbanden1 . Easter Day (17242 )

(a)

Verse I.

(b)

Verse II.

(c)

Verse III.

(d)

Verse IV.

(e)

Verse V

(f)

Verse VI.

(g)

Verse VII.

Cantata V.

Wo soll ich fliehen hin. Nineteenth Sunday after Trinity (1735)

(a)

(b)

Cantata VI.

Bleib’ bei uns, denn es will Abend werden1 . Easter Monday (1736)

(a)

(b)

Cantata VII.

Christ unser Herr zum Jordan kam. Feast of St John Baptist (c. 1740)

(a)

(b)

Cantata VIII.

Liebster Gott, wann werd’ ich sterben3 ? Sixteenth Sunday after Trinity (c. 1725)

(a)

(b)

Cantata IX.

Es ist das Heil uns kommen her. Sixth Sunday after Trinity (? 1731)

(a)

(b)

Cantata X.

Meine Seel’ erhebt den Herren3 . Feast of the Visitation of the B. V. M. (c. 1740)

(a)

(b)

Cantata XI.

Lobet Gott in seinen Reichen1 . Ascension Day (17352 )

(a)

(b)

Cantata XII.

Weinen, Klagen, Sorgen, Zagen1 . Third Sunday after Easter (“Jubilate”) (1724 or 1725)

Cantata XIII.

Meine Seufzer, meine Thranen. Second Sunday after the Epiphany (c. 1736)

(a)