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Subject Area: Music
Subject Area: Religion

Cantata XXXVI.: Schwingt freudig euch empor. First Sunday in Advent ( c. 1730 1 ) - Johann Sebastian Bach, Bach’s Chorals, vol. 2 The Hymns and Hymn Melodies of the Cantatas and Motetts [1917]

Edition used:

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.

Part of: Bach’s Chorals, 3 vols.

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Cantata XXXVI.

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

lf1393-02_figure_106

Melody: “Nun komm, der Heiden Heiland”

Anon. 1524

lf1393-02_figure_107

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.

[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.