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 Front Page arrow Titles (by Subject) arrow Cantata CLIX.: Sehet, wir geh'n hinauf gen Jerusalem. Quinquagesima (Esto Mihi) Sunday (? 1729) - Bach's Chorals, vol. 2 The Hymns and Hymn Melodies of the Cantatas and Motetts

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Subject Area: Music
Subject Area: Religion

Cantata CLIX.: Sehet, wir geh’n hinauf gen Jerusalem. Quinquagesima (“Esto Mihi”) Sunday (? 1729) - 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 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).

lf1393-02_figure_193

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.

[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.