Front Page Titles (by Subject) In dich hab' ich gehoffet, Herr. - Bach's Chorals, vol. 3 The Hymns and Hymn Melodies of the Organ Works
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In dich hab’ ich gehoffet, Herr. - 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.
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In dich hab’ ich gehoffet, Herr.
Adam Reissner’s hymn, “In dich hab’ ich gehoffet, Herr,” based on Psalm 31, was first published in 15332 . In the sixteenth century two tunes attached themselves to it, both of which Bach uses.
N. xv. 113. The movement is the second in the “In Time of Trouble” section of the Orgelbuchlein. It is described as “alio modo,” i.e. the melody Bach uses is different from that to which the hymn is set in Witt (No. 606). Bach’s tune, a pre-Reformation Easter melody, occurs in a fifteenth century ms. now in the Royal Library, Berlin, set to the hymn “Christ ist erstanden” or “Christus ist erstanden.” It is found in print, set to the latter hymn, in 1536. In 1555 Valentin Triller, describing it as old and well-known, set it to the Easter hymn “Erstanden ist uns Jesus Christ.” Five years later, with an altered last line, the tune was attached to Reissner’s “In dich hab’ ich gehoffet, Herr,” in the Strasbourg Gros Kirchen Gesangbuch (1560). The Easter associations of the tune throw light upon Bach’s treatment of it in this movement.
N. xviii. 59. The second of the two melodies is used in this Fughetta. The tune (supra) by Seth Calvisius, one of Bach’s predecessors in the Cantorate of St Thomas’, Leipzig, was first published in association with Reissner’s hymn in 1581. Elsewhere Bach uses it in the St Matthew Passion (1729), No. 38; Christmas Oratorio (1734), No. 46; Cantatas 52, 106 (1711-c. 1730); Choralgesänge, No. 212. His melodic text is practically invariable and shows marked divergencies from the 1581 form. His first phrase is found in Witt (No. 606). His closing cadence is in Schein (1627). He differs from Witt in his treatment of phrases 4 and 5, and his version is not traceable in Zahn. Perhaps it is his own. Only in the Fughetta (N. xviii. 59) does he follow the original and Witt in those phrases, with a single variation—B flat for A as the first note of phrase 5 (the second note of line 3 supra).
In this movement, as in No. 69 supra, Bach’s exegesis of Reissner’s hymn does not travel beyond the first line of stanza i. It exhibits a mood of confidence and trust which this happy Fughetta reflects. Copies of it are among the Kirnberger, Voss, and Oley mss.
[1 ]Chorale Book for England, No. 120. The original hymn has seven stanzas, of which the last is omitted in the translation.
[2 ] See Bach’s Chorals, Part I. 17.