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Subject Area: Music
Subject Area: Religion

Wir Christenleut ’. - 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.

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Wir Christenleut’.

lf1393-03_figure_105

Melody:Wir Christenleut’ ”

Caspar Fuger the younger 1593

    • i.

      We Christians may
    • Rejoice to-day,
    • When Christ was born to comfort and to save us;
    • Who thus believes
    • No longer grieves,
    • For none are lost who grasp the hope He gave us.
    • ii.

      O wondrous joy!
    • That God most high
    • Should take our flesh, and thus our race should honour;
    • A virgin mild
    • Hath borne this Child,
    • Such grace and glory God hath put upon her.
    • iii.

      Sin brought us grief,
    • But Christ relief,
    • When down to earth He came for our salvation;
    • Since God with us
    • Is dwelling thus,
    • Who dares to speak the Christian’s condemnation?
    • iv.

      Then hither throng,
    • With happy song,
    • To Him Whose birth and death are our assurance;
    • Through Whom are we
    • At last set free
    • From sins and burdens that surpassed endurance.
    • v.

      Yes, let us praise
    • Our God and raise
    • Loud hallelujahs to the skies above us.
    • The bliss bestowed
    • To-day by God
    • To ceaseless thankfulness and joy should move us.
    • Caspar Fuger (d. c. 1592)     Tr. Catherine Winkworth1 .

The Christmas hymn, “Wir Christenleut’,” was written by Caspar Fuger, whose son (?), also named Caspar, wrote the melody to it. The tune (supra), which is certainly as old as 1589, was published with the hymn in 1593. Bach uses it in Cantatas 40, 110, 142 (c. 1712-c. 1734); Christmas Oratorio (1734), No. 35; and the Organ movements infra. His text is invariable and follows the original. Witt’s (No. 33) text is uniform with it.

The melody is treated in two of the Organ Chorals:

[136]

N. xv. 36. The movement concludes the Christmas section of the Orgelbüchlein. Bach’s reason for placing it there is revealed in his treatment of the melody. He is not moved by the hymn’s invitation to rejoice over the Christmas story, but by the blessings which result to mankind from it. They are stated in the latter half of the first stanza: “He whose faith stands fast to the Incarnation shall never be confounded.” To bring out this interpretation of the hymn Bach sets the cantus upon a broadlyspaced figure on the Pedals, which, frequently repeated, typifies the Christian’s confident faith in the Incarnation as the instrument of his salvation.

[137]

N. xix. 28. The movement, a direct and happy treatment of the Christmas tune, conveys none of the symbolism of the Orgelbuchlein Prelude. Copies of it are in the Kirnberger, Oley, Schicht, and Schelble mss.

[1 ]Chorale Book for England, No. 34. The original hymn has five stanzas. The first line of each is repeated to the melody.