Front Page Titles (by Subject) Wer nur den lieben Gott lässt walten. - Bach's Chorals, vol. 3 The Hymns and Hymn Melodies of the Organ Works
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Wer nur den lieben Gott lässt walten. - 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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Wer nur den lieben Gott lässt walten.
Georg Neumark’s consolatory hymn, “Wer nur den lieben Gott lässt walten,” was first published, words and melody (supra), in 1657. Bach uses the tune in Cantatas 21, 27, 84, 88, 93, 166, 179, 197 (1714-c. 1740); Choralgesänge, No. 367; and the movements infra. His text is invariable. The E flat for E natural as the third note of the second phrase dates from 1682. In the second half of the tune he invariably writes A for B flat as the first note, and C for B flat as the seventh note of the second line supra, while his closing phrase differs from the original. In all these details he follows Witt (No. 553).
There are four Organ movements on the melody:
N. xv. 117. The movement is the last of the “In Time of Trouble” section of the Orgelbüchlein, and is placed there by Bach in order to end upon a note of confidence. For that reason he introduces the rhythm of joy which the thought of God’s nearness and watchfulness ever roused in him (cf. “In dich hab’ ich gehoffet, Herr,” and “Von Gott will ich nicht lassen”). The movement particularly illustrates the first stanza:
N. xvi. 6. The movement, No. 3 of the Schubler Chorals, is an arrangement of a setting of the fourth stanza of Neumark’s hymn in Cantata 93 (? 1728)1 . In the Cantata the cantus is played by Violins and Violas in unison, while the part allotted to the “dextra” manual is a Duetto for Soprano and Alto. The “sinistra” manual plays the original Continuo. As in the Orgelbüchlein movement Bach uses the rhythm of joy:
N. xix. 21. The movement stands in contrast to the others upon the melody, not in mood, but in the means by which Bach expresses it. The animated semiquaver passages accompanying the cantus express whole-hearted joy. In the B.G. Edition the movement ends with a simple four-part setting of the melody. It is not reproduced in the Novello Edition, but will be found in P. v. 57. Copies are among Kirnberger’s, Voss’, Westphal’s, Fischhof’s, and Forkel’s mss.
N. xix. 22. This short, intimate movement is found in Wilhelm Friedemann’s (1720) and Anna Magdalena’s (1722) Clavierbuchlein. It is also among the Kirnberger, Oley, and Schelble mss. Bach probably gave it to his son and wife as an exercise in playing fioriture. But, as in “Wenn wir in hochsten Nöthen sein,” his reflective treatment of the cantus reveals the intimacy of its appeal to his religious feelings.
The movement is extracted from a longer one, printed in P. v. 111. The latter includes the cantus, as in N. xix. 22, with a prelude of nine bars; an interlude of two bars between lines } and } of the melody; an interlude of five bars before the second part of the tune; and a postlude of four bars to conclude it. No doubt the movement was written for Church use, and Spitta1 attributes it to the early years of the Arnstadt period, in view of its evidence of Bohm’s influence. There are two mss. of the movement, one in Schelble’s hand, the other in a collection of Organ Chorals attributed to Bach, in the Berlin Royal Library.
[1 ]Chorale Book for England, No. 134. The original hymn has seven stanzas.
[1 ] See Bach’s Chorals, Part II. 321.
[1 ] Vol. i. 313.