Front Page Titles (by Subject) Ich hab' mein Sach' Gott heimgestellt. - Bach's Chorals, vol. 3 The Hymns and Hymn Melodies of the Organ Works
The Online Library of Liberty
A project of Liberty Fund, Inc.
Ich hab’ mein Sach’ Gott heimgestellt. - Johann Sebastian Bach, Bach’s Chorals, vol. 3 The Hymns and Hymn Melodies of the Organ Works 
Bach’s Chorals. Part III: The Hymns and Hymn Melodies of the Organ Works, by Charles Sanford Terry (Cambridge University Press, 1915-1921). 3 vols. Vol. 3.
Part of: Bach’s Chorals, 3 vols.
About Liberty Fund:
Liberty Fund, Inc. is a private, educational foundation established to encourage the study of the ideal of a society of free and responsible individuals.
The text is in the public domain.
Fair use statement:
This material is put online to further the educational goals of Liberty Fund, Inc. Unless otherwise stated in the Copyright Information section above, this material may be used freely for educational and academic purposes. It may not be used in any way for profit.
Ich hab’ mein Sach’ Gott heimgestellt.
Johannes Leon’s hymn, “Ich hab’ mein Sach’ Gott heimgestellt,” was first published in Psalmen, geistliche Lieder und Kirchengesäng (Nürnberg, 1589). The author was born at Ohrdruf, near Gotha, and after service as an army chaplain became pastor at Königsee and Wölfis. He died at Wölfis in 1597.
Associated with Leon’s hymn are two melodies, both of which are used by Bach, and are traced to the same origin, a four-part setting (supra) of the secular song “Ich weiss mir ein Roslein hübsch und fein,” published by Johann Rhau in 1589. The Tenor of the setting becomes the melody of Leon’s hymn in a Hymn-book dated 16091 and in Witt (No. 317). Bach introduces it into the orchestral accompaniment of Cantata 106 (1711). Meanwhile, the descant melody of the 1589 four-part setting also became attached to Leon’s hymn in David Wolder’s Hymn-book, published in 1598. Bach uses this tune in the Organ movements infra, and there is a four-part setting of it among the Choralgesänge, No. 182. Bach’s text is practically invariable. The D natural which he substitutes for F natural as the fourth note of the melody (supra) has early (1611) sanction. His variant of the opening of the second line of the stanza (notes 3-5 of line 2 supra) follows a reconstruction of the melody which became the accepted form of the tune in Hymn-books after 1601, when it first appears.
N. xviii. 54. The movement treats in fugue the five phrases of the cantus. MSS. of the movement are among the Kirnberger and Oley mss. and four other copies are extant. The B.G. Edition ascribes it confidently to Bach’s early period, and Spitta1 attributes it to Walther. There does not appear to be any close relation between it and the stanzas of the hymn. Five of the six mss. of it conclude with a plain four-part harmonization of the tune, having a certain amount of free figure work. It is omitted from the Novello Edition, and printed in P. vi. 77.
N. xviii. 58. The two arrangements come from different sources. The first (A) is found in Kirnberger’s, Voss’, and three other mss. The second (B) occurs in a much later (1836) text and is misleadingly described in the B.G. Edition as a “Variant” of A. Both settings are plain four-part harmonizations of the tune, of greater simplicity than that appended to No. 66 supra.
[1 ]Chorale Book for England, No. 127. The original hymn has eighteen stanzas, of which ii-x, xii, xv, xvii are omitted in the translation.
[1 ] It is printed in Bach’s Chorals, Part II. 344.
[1 ] Vol. i. 656.