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Subject Area: Music
Subject Area: Religion

Cantata LII.: Falsche Welt, dir trau ich nicht. Twenty-third Sunday after Trinity ( c. 1730) - 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 LII.

Falsche Welt, dir trau ich nicht. Twenty-third Sunday after Trinity (c. 1730)

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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 .

[1 ] 1533 mein Gotte.

[2 ] The Introduction to the Cantata is the opening movement of the first Brandenburg Concerto.