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Subject Area: Religion

Cantata XCV.: Christus, der ist mein Leben. Sixteenth Sunday after Trinity (? 1732) - 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 XCV.

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

lf1393-02_figure_163

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 .

lf1393-02_figure_164

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.

[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.