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Front Page Titles (by Subject) Komm, Gott, Schöpfer, heiliger Geist. - Bach's Chorals, vol. 3 The Hymns and Hymn Melodies of the Organ Works
Return to Title Page for Bach’s Chorals, vol. 3 The Hymns and Hymn Melodies of the Organ WorksThe Online Library of LibertyA project of Liberty Fund, Inc.Komm, Gott, Schöpfer, heiliger Geist. - Johann Sebastian Bach, Bach’s Chorals, vol. 3 The Hymns and Hymn Melodies of the Organ Works [1921]Edition used: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. Copyright information: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.
Komm, Gott, Schöpfer, heiliger Geist.![]() Melody: “Komm, Gott, Schopfer, heiliger Geist” Anon. 1535 ![]() Cruger’s version 1640
The words and melody of Luther’s Whitsuntide hymn, “Komm, Gott, Schopfer, heiliger Geist,” are derived from the Latin “Veni Creator Spiritus,” and were first published in 1524. In Klug’s Hymn-book (1535 [1529]) the melody, considerably modified2 , approached the form in which it is universally known. In the Cantata “Gott der Hoffnung erfülle euch,” attributed to Bach, the tune is used exactly in its 1535 form. Elsewhere, in Choralgesänge, No. 218, and the two Organ movements (infra), Bach follows a version of the melody based on Cruger’s text (1640) (supra) invariably for the third phrase. Witt (No. 171) exactly conforms to the 1535 text. Bach treats the melody in two Organ movements: [82]N. xv. 97. The movement is the only completed Prelude in the Whit-Sunday section of the Orgelbüchlein. The similarity of its Bass to that of the four-part setting in the Choralgesange suggests that they were written in close association. Spitta1 finds the movement out of place among Preludes in which Bach undertook to treat the Pedal uniformly obbligato throughout. He regards it as the fragment of a movement conceived on a much bigger scale—in fact, an introduction to No. 83 infra. An older reading of the movement is in P.vii.86(A), whose original is in the Mendelssohn Autograph. [83]N. xvii. 82. The movement is among the Eighteen Chorals and is the Orgelbuchlein Prelude with the addition of another verse, in which the cantus is on the Pedal. Its treatment suggests that Bach had in mind Acts ii. 2, 3: “And suddenly there came a sound from heaven.....And there appeared unto them cloven tongues like as of fire.” [1 ]Exotics, p. 56. The original hymn has seven stanzas. [2 ] For the 1524 version, see Bach’s Chorals, Part II. 479. [1 ] Vol. i. 650. |

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