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Return to Title Page for Bach’s Chorals, vol. 2 The Hymns and Hymn Melodies of the Cantatas and MotettsThe Online Library of LibertyA project of Liberty Fund, Inc.Johann Sebastian Bach, Bach’s Chorals, vol. 2 The Hymns and Hymn Melodies of the Cantatas and Motetts [1917]Edition used:Bach’s Chorals. Part I: 2 The Hymns and Hymn Melodies of the Cantatas and Motetts, by Charles Sanford Terry (Cambridge University Press, 1915-1921). 3 vols. Vol. 2.
Part of: Bach’s Chorals, 3 vols.
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BACH’S CHORALSPART ITHE HYMNS AND HYMN MELODIES OF THE “PASSIONS” AND ORATORIOS“A little volume on the sources of the Chorales, the utility of which is out of all proportion to its modest bulk.” —Mr Ernest Newman in the Birmingham Post. “An invaluable work of reference.” —Guardian. “A great mass of interesting information, collected from all available sources, and brought together for the first time in this convenient form.” —Yorkshire Post. “This useful work of reference.” —Musical Times. “The result of an extensive amount of research and erudition.” —Standard. “A careful piece of musical archaeological enquiry, done with thoroughness and care.” —Scotsman. “A scholarly piece of work.” —Oxford Magazine. “An invaluable volume of reference, and as such it will quickly become a standard work.” —Music Student. “A perfect storehouse of information.” —Musical News. PART IIITHE CHORALS OF THE ORGAN WORKS (In the Press)PREFATORY NOTEIN Part I of this work the Hymns and Hymn melodies of the “Passions” and Oratorios have been dealt with. In the present volume those of the Cantatas and Motetts are considered. The Hymn melodies of the Organ Works are reserved for Part III. The author approaches the Chorals from the historical rather than an aesthetic standpoint. His object is to reveal the origin and authorship of the Hymns and Hymn melodies which, like jewels, decorate Bach’s concerted Church music. The melodies are printed here in their earliest form and, where possible, Bach’s variations of them are traced to an earlier tradition or attributed to himself. In similar manner, the text of his Hymn stanzas, as printed by the Bachgesellschaft, has been collated with the originals in Philipp Wackernagel’s Das deutsche Kirchenlied von der altesten Zeit bis zu Anfang des XVII Jahrhunderts (Leipzig, 5 vols. 1864-77) or Albert Fischer and W. Tümpel’s Das deutsche evangelische Kirchenlied des siebzehnten Jahrhunderts (Gütersloh, 1904-16). The few Hymns which are not in those collections are marked with an asterisk in the following pages. The author has not had the opportunity to examine their original texts elsewhere. For the help of students and others the author, on the first occurrence of every Choral melody, states where Bach uses it elsewhere in his concerted Church music and Organ works1 . Thus, Bach’s treatment of a particular tune can be studied exhaustively. Since all but a few of the Cantatas are published only with German texts, it has seemed advisable to provide an Appendix of translations of the Hymn stanzas, upwards of two hundred and fifty in number, which Bach uses in the Cantatas and Motetts. Wherever it is available, the text of Novello & Co.’s and Messrs J. & W. Chester’s Editions has been used, with the permission of the two firms. Six melodies that occur in the “Passions” and Oratorios are not found in the Cantatas or Motetts. They are printed in an Appendix. This volume therefore contains all the Choral tunes used by Bach in his concerted Church music. In the Introduction, besides other topics relative to the subject of this work, there will be found a section on Bach’s original Hymn tunes. The subject is one which hitherto has not received adequate attention. Schweitzer does not deal with it, and Spitta’s chapter is unreliable. The author thanks the Rev. James Mearns, Mr Herbert Thompson, Mr Ernest Newman, and especially Mr Ivor Atkins, for the valuable help they have given him. He also acknowledges material aid from the Carnegie Trust for the Universities of Scotland towards the publication of this work. C. S. T.
January, 1917. [Back to Table of Contents]MELODIES
PART IADDENDA AND ERRATA
INTRODUCTIONThe CantatasThere is early and adequate authority for the belief that Bach wrote five complete “year books” of Church Cantatas, i.e. five Cantatas for every one of the Sundays and Festivals of the ecclesiastical year. At Leipzig fifty-nine Cantatas were required annually1 . Consequently, Bach must have written two hundred and ninety-five Cantatas. Of that number certainly thirty were written before he was inducted at Leipzig as successor to Johann Kuhnau (1667-1722) on May 31, 1723. Bach did not write Cantatas during the last years of his life: the latest that can be dated is “Du Friedefürst, Herr Jesu Christ” (No. 116), written for the Twenty-fifth Sunday after Trinity, November 15, 17442 . It is therefore reasonable to limit his activity as a composer at Leipzig to twenty-one years. On that hypothesis, he must have written twelve or thirteen Church Cantatas every year, or at the rate of one every month1 . If it be remembered that during the same period Bach’s genius was exceedingly productive in other forms of musical expression, the conclusion that he was a rapid writer hardly can be challenged, though Spitta disputes it2 . Less than seventy per cent. of Bach’s Church Cantatas survive. The set of five is complete only for Christmas Day, New Year’s Day (Feast of the Circumcision), Whit Sunday (though one of the five is of doubtful authenticity), Feast of the Purification of the B. V. M., and the Feast of St Michael the Archangel (one of which is of doubtful authenticity). There are four Cantatas in every case for the Third Sunday after Epiphany, Quinquagesima, Easter Day, Ascension Day, Sixteenth Sunday after Trinity, and the Twenty-first Sunday after Trinity. For no other Festival or Sunday have more than three Cantatas survived, and most of them have less1 . Without reckoning the six Cantatas which form the “Christmas Oratorio2 ,” there survive two hundred and six Church Cantatas composed by Bach, or attributed to him, all of which are published by the Bachgesellschaft. Nos. 1-190 bear the numbers assigned to them in the volumes of the Bachgesellschaft. Nos. 191-198, which are not grouped in a single volume of the B. G. edition, bear the distinguishing numbers attached to them in vol. xx of Breitkopf & Haertel’s vocal scores of the Church Cantatas. No. 199 is published by the Neue Bachgesellschaft. There remain three Cantatas which are incomplete: in the following pages they are designated U 1, U 2, U 3. Finally, there are four Cantatas of doubtful authenticity (B. G. xli): they are here indicated as D 1, D 2, D 3, D 4. Four of the Church Cantatas (Nos. D 1, D 2, D 3, D 4) were written at dates which are not ascertained. The remaining 202 Cantatas are distributed between the five periods of Bach’s career: I. (1704-1708). Arnstadt and Mühlhausen Cantatas (3). Nos. 15, 71, 131. II. (1708-1717.) Weimar Cantatas (23). Nos. 18, 21, 31, 59, 61, 70, 106, 132, 142, 147, 150, 152, 155, 158, 160, 161, 162, 163, 182, 185, 189, 196, 199. III. (1718-1722.) Cöthen Cantatas (4). Nos. 47, 134, 141, 1731 . IV. (1723-1734.) Leipzig Cantatas (100). Nos. 4, 8, 9, 12, 16, 19, 20, 22, 232 , 24, 25, 27, 283 , 29, 35, 36, 37, 40, 42, 44, 46, 49, 51, 52, 55, 56, 58, 60, 63, 64, 65, 66, 67, 69, 724 , 73, 75, 76, 77, 80, 81, 82, 83, 84, 86, 88, 89, 93, 95, 97, 98, 99, 102, 104, 105, 107, 109, 112, 117, 119, 120, 129, 136, 137, 140, 144, 145, 148, 149, 153, 154, 156, 157, 159, 164, 165, 166, 167, 168, 169, 170, 171, 172, 174, 177, 179, 181, 184, 186, 187, 188, 190, 191, 192, 194, 195, 198, U 1, U 2, U 35 . V. (1735-1750.) Leipzig Cantatas (72). Nos. 1, 2, 3, 5, 6, 7, 10, 11, 13, 14, 17, 26, 30, 32, 33, 34, 38, 39, 41, 43, 45, 48, 50, 53, 54, 57, 62, 68, 746 , 78, 79, 85, 87, 90, 91, 92, 94, 96, 100, 101, 103, 108, 110, 111, 113, 114, 115, 116, 118, 121, 122, 123, 124, 125, 126, 127, 128, 130, 133, 135, 138, 139, 143, 146, 151, 175, 176, 178, 180, 183, 193, 197. It will be convenient to group the Church Cantatas according to the seasons of the Church’s year1 : Sundays in Advent. First (Epistle Rom. xiii. 11-14. Gospel St Matt xxi. 1-11).
Second. See No. 70. (E. Rom. xv. 4-13. G. St Luke xxi. 25-36.) Third (E. 1 Cor. iv. 1-5. G. St Matt. xi. 2-10).
Fourth5 (E. Phil. iv. 4-7. G. St John i. 19-28).
Christmas Day (E. Titus ii. 11-14 or Isaiah ix. 2-7. G. St Luke ii. 1-14).
Feast of St Stephen (E. Titus iii. 4-7 or Acts vi. 8-15, vii. 51-59. G. St Luke ii. 15-20).
Feast of St John the Evangelist (E. Heb. i. 1-12 or 1 John. G. St John i. 1-14).
Sunday after Christmas (E. Gal. iv. 1-7. G. St Luke ii. 33-40).
Feast of the Circumcision (New Year’s Day) (E. Gal. iii. 23-29. G. St Luke ii. 21).
Sunday after the Circumcision (E. 1 Peter iv. 12-19. G. St Matt. ii. 13-23).
Feast of the Epiphany (E. Isaiah lx. 1-6. G. St Matt. ii. 1-12).
Sundays after the Epiphany First (E. Rom. xii. 1-6. G. St Luke ii. 41-52).
Second (E. Rom. xii. 7-16. G. St John ii. 1-11).
Third (E. Rom. xii. 17-21. G. St Matt. viii. 1-13).
Fourth (E. Rom. xiii. 8-10. G. St Matt. viii. 23-27).
Septuagesima Sunday (E. 1 Cor. ix. 24—x. 5. G. St Matt. xx. 1-16).
Sexagesima Sunday (E. 2 Cor. xi. 19—xii. 9. G. St Luke viii. 4-15).
Quinquagesima (“Esto Mihi”) (E. 1 Cor. xiii. G. St Luke xviii. 31-43).
Palm Sunday (E. Phil. ii. 5-11 or 1 Cor. xi. 23-32. G. St Matt. xxi. 1-9). Easter Day (E. 1 Cor. v. 6-8. G. St Mark xvi. 1-8).
Easter Monday (E. Acts x. 34-41. G. St Luke xxiv. 13-35).
Easter Tuesday (E. Acts xiii. 26-33. G. St Luke xxiv. 36-47).
Sundays after Easter. First (“Quasimodo geniti”) (E. 1 John v. 4-10. G. St John xx. 19-31).
Second (“Misericordias Domini”) (E. 1 Peter ii. 21-25. G. St John x. 12-16).
Third (“Jubilate”) (E. 1 Peter ii. 11-20. G. St John xvi. 16-23).
Fourth (“Cantate”) (E. James i. 16-21. G. St John xvi. 5-15).
Fifth (“Rogate”) (E. James i. 22-27. G. St John xvi. 23-30 or 33).
Sixth (“Exaudi6 ”) (E. 1 Peter iv. 8-11. G. St John xv. 26—xvi. 4).
Ascension Day (E. Acts i. 1-11. G. St Mark xvi. 14-20).
Whit Sunday (E. Acts ii. 1-13. G. St John xiv. 23-31).
Whit Monday (E. Acts x. 42-48. G. St John iii. 16-21).
Whit Tuesday (E. Acts viii. 14-17 or ii. 29-36. G. St John x. 1-11).
Trinity Sunday1 (E. Rom. xi. 33-36. G. St John iii. 1-15).
Sundays after Trinity. First (E. 1 John iv. 16-21. G. St Luke xvi. 19-31).
Second (E. 1 John iii. 13-18. G. St Luke xiv. 16-24).
Third11 (E. 1 Peter v. 6-11. G. St Luke xv. 1-10).
Fourth (E. Rom. viii. 18-23. G. St Luke vi. 36-42).
Fifth (E. 1 Peter iii. 8-15. G. St Luke v. 1-11).
Sixth (E. Rom. vi. 3-11. G. St Matt. v. 20-26).
Seventh (E. Rom. vi. 19-23. G. St Mark viii. 1-9).
Eighth (E. Rom. viii. 12-17. G. St Matt. vii. 15-23).
Ninth (E. 1 Cor. x. 6-13. G. St Luke xvi. 1-9).
Tenth (E. 1 Cor. xii. 1-11. G. St Luke xix. 41-48).
Eleventh (E. 1 Cor. xv. 1-10. G. St Luke xviii. 9-14).
Twelfth (E. 2 Cor. iii. 4-11. G. St Mark vii. 31-37).
Thirteenth (E. Gal. iii. 15-22. G. St Luke x. 23-37).
Fourteenth (E. Gal. v. 16-24. G. St Luke xvii. 11-19).
Fifteenth9 (E. Gal. v. 25-26, x. G. St Matt. vi. 24-34).
Sixteenth (E. Eph. iii. 13-21. G. St Luke vii. 11-17)12 .
Seventeenth (E. Eph. iv. 1-6. G. St Luke xiv. 1-11).
Eighteenth (E. 1 Cor. i. 4-9. G. St Matt. xxii. 34-46).
Nineteenth (E. Eph. iv. 22-28. G. St Matt. ix. 1-8).
Twentieth (E. Eph. v. 15-21. G. St Matt. xxii. 1-14).
Twenty-first (E. Eph. vi. 10-17. G. St John iv. 47-54).
Twenty-second (E. Phil. i. 3-11. G. St Matt. xviii. 23-35).
Twenty-third (E. Phil. iii. 17-21. G. St Matt. xxii. 15-22).
Twenty-fourth (E. Coloss. i. 9-14. G. St Matt. ix. 18-26).
Twenty-fifth (E. 1 Thess. iv. 13-18. G. St Matt. xxiv. 15-28).
Twenty-sixth (E. 2 Peter iii. 3-14 or 2 Thess. i. 3-10. G. St Matt. xxv. 31-46).
Twenty-seventh (E. 1 Thess. v. 1-11, or one of the two Epistles for the Twenty-sixth Sunday. G. St Matt. xxv. 1-13 or xxiv. 37-51 or v. 1-12).
Feast of the Purification of the B.V.M. (E. Mal. iii. 1-4. G. St Luke ii. 22-32).
Feast of the Annunciation of the B.V.M. (E. Is. vii. 10-16. G. St Luke i. 26-38).
Feast of the Visitation of the B.V.M. (E. Rom. xii. 9-16 or Is. xi. 1-5 or Song of Solomon ii. 8-17. G. St Luke i. 39-56).
Feast of St John Baptist (E. Is. xl. 1-5. G. St Luke i. 57-80).
Feast of St Michael the Archangel1 (E. Rev. xii. 7-12. G. St Matt. xviii. 1-11).
For General or Unspecified Use8 .
For a Wedding3 .
For a Funeral7 .
For a Public Fast.
For the Reformation Festival.
For the Inauguration of the Town Council5 .
For the Opening of an Organ.
The Choral CantatasSo intimate is the association between the Cantata, as it developed in Bach’s hands, and the congregational Hymns and Hymn melodies of the Lutheran Church, that the latter are absent only from twenty-two of the two hundred and six Cantatas1 . The one hundred and eighty-four Cantatas that include Hymn stanzas or melodies fall into three groups. The largest, containing one hundred and eighteen Cantatas, includes those in which Bach introduces Chorals, almost invariably as the concluding movement2 , occasionally in the middle movements, very rarely in the opening movement3 , but always without permitting them to dominate the Cantata4 . The second, and smallest, group consists of twelve Cantatas which bear the name of a congregational Hymn, whose text and melody are introduced into their opening movements, but are not permitted to close the Cantata, and therefore do not leave a vivid impression of the Choral as the key to the whole composition1 . The third category contains the Cantatas which are distinguished preeminently as “Choral Cantatas.” They number fifty-four and fall into two divisions, the first, which contains fifteen Cantatas, coinciding with the Leipzig period 1723-34; the second, which contains thirty-nine, coinciding with the later Leipzig period 1735-50. Choral Cantatas, 1723-34 (15).
Choral Cantatas, 1735-50 (39).
The Choral Cantata as we have it after 1734 is the supreme expression of Bach’s art in that form. He was led to it by the inadequacy of the texts with which Picander provided him, and by the failure of his earlier experiments in building a Cantata upon a congregational Hymn. The Choral Cantata united the best features of both forms. Briefly its essentials are these: (1) The text of the Cantata is based upon that of a congregational Hymn, the Cantata in effect being an elaborate setting of its stanzas. (2) The middle movements are not necessarily set to actual words of the Hymn, all of whose stanzas are not invariably used. If the Hymn is too short, as for instance No. 140, additional stanzas are inserted. But whether the stanzas be reconstructed or extended, the spirit of the original Hymn is preserved, and in the case of reconstructed stanzas the actual words of the original text are preserved so far as is convenient. (3) Whatever liberties are taken with the intermediate stanzas, the words of the first and last movements of the Cantata invariably1 are stanzas of the original Hymn, and are, in both movements, wedded to its proper or customary tune1 . As Spitta comments, the Choral Cantatas assume that the hearer held constantly in mind the Hymn in its original form. “The church-goer of those days could compare the printed text of the Cantata with the version in his Hymn book; or he could even dispense with this material aid, since those Hymns were in every heart as a possession common to all. He had sung them times without number in church, had taken them as his guide in daily life, and had drawn consolation and edification from isolated verses under various experiences. This was the audience to which Bach addressed himself, and such an audience do these compositions still require, for to such alone will they reveal all their meaning and fulness2 .” It was in the early thirties, or after 1728, that Bach, dissatisfied with the Cantata texts which he had used for so many years, turned to the Hymns of the sixteenth and seventeenth centuries. At Weimar he had been so fortunate as to find in Salomo Franck a man of his own temperament. Erdmann Neumeister also provided him with texts, though in lesser number. Later, at Leipzig, Bach used the Cantata texts of Marianne von Ziegler1 . But almost from the moment of his arrival at Leipzig, he entered into a literary partnership with Christian Friedrich Henrici, or Picander2 , which lasted for twenty years. Bach’s exclusive dependence on Picander is proved, perhaps, by the fact that, excepting Marianne von Ziegler, he seems to have made no effort to secure another librettist. Yet Picander hardly can have satisfied Bach, though he accepted from him and set many texts which are wanting in taste and fine feeling. Picander began his literary career as a lampoonist, a form of expression for which he was better fitted. Cantata work was quite foreign to his character, and he seems to have attempted it at Bach’s instigation, under his direction, and subject to his suggestion and correction. It is probable that the texts of the Choral Cantatas also were arranged by Picander under similar conditions. It is to be assumed, therefore, that Bach originated the Choral Cantata, and guided it to its final form in the Cantatas of the post 1734 period. An examination of the earlier group of Choral Cantatas, while it reveals contrast, brings out their essential agreement with the later. The first and last movements are stanzas of the same Hymn, set to its proper or customary melody. In every case the first movement is in the form of a Choral Fantasia. In every case the final movement is a simple Hymn setting, except in Nos. 97, 112, 137, where the simple setting is embellished by orchestral detail1 , and Nos. 129, 192, where it is Extended or a Fantasia in form. In eight of the fifteen Cantatas (1723-34) the Hymn and its melody are associated only in the first and last movements. They are Nos. 8, 9, 97, 99, 112, 129, 177, 192. Of greater importance is the structure of the early Choral Cantata libretti. More than half (eight) are the unaltered text of a congregational Hymn: they are Nos. 4, 97, 112, 117, 129, 137, 177, 192. The text of four Cantatas consists partly of actual and partly of paraphrased Hymn stanzas: they are Nos. 8, 9, 20, 99. In two Cantatas movements are included which are neither actual nor paraphrased stanzas of the Hymn: they are Nos. 80, 140. In a single Cantata, No. 93, in addition to actual and paraphrased stanzas of the Hymn, the libretto adds to the former a commentary of Recitativo. As a whole, therefore, the early Choral Cantata group exhibits no uniform treatment of the Hymn libretto. The composer is generally content with the actual text of the Hymn without attempting to mould it to a more plastic form. But Bach soon discovered that a uniform stanza, particularly a stanza lavishly rhymed, was not as appropriate to Recitativo and Aria as it was, for instance, to the Simple Choral and more elaborate Fantasia. Rhythmical uniformity impeded his musical utterance. He therefore invented the paraphrase of the Hymn stanza, of which he had made trial already in Cantata No. 93. Hence, the libretti of the later Choral Cantatas display a textual uniformity that is lacking in the earlier ones. Only two of them, Nos. 100, 107, are set to the unaltered text of the Hymn. In all the others the libretto is made up of actual and paraphrased Hymn stanzas. Twelve of the thirty-nine Cantatas, however, contain paragraphs foreign to the original Hymn text. Nos. 3, 91, 92, 94, 101, 113, 125, 126, 138, and 178 include movements described as “Recitativ und Choral” which associate actual stanzas of the Hymn with a concurrent commentary. In No. 122 a similar form is found in the fourth movement, “Choral und Arie.” The preceding Recitativo of that Cantata (No. 122) is not a stanza of the Hymn, and the penultimate number of No. 38 is based upon the Gospel for the Day. The Choral Cantatas of the post 1734 period, written for the most part, as Spitta shows1 , on paper having the same watermark, exhibit the final and perfected type of libretto. In all, the first and last movements are Choruses upon the words and melody of the Hymn. In all, the opening movement is a Choral Fantasia2 . In all but eight, the last movement is a Simple Choral—Nos. 41, 100, 107 are Extended, Nos. 1, 91, 101, 130 are Embellished, and No. 138 is a Choral of the Fantasia type. As in the Choral Cantatas of the earlier group, Bach comparatively rarely brings the Hymn and melody together between the first and last Choruses, the two “pillars” of the Choral Cantata. He does so only in Nos. 3, 91, 92, 94, 101, 113, 114, 122, 125, 126, 138, 178, and 1803 . The Choral forms which Bach employs in the Cantatas must now be considered. The Choral FantasiaThe Leipzig Cantatas are distinguished generally from those of the earlier periods of Bach’s activity by the magnificent Choral Fantasias which he introduced into them, generally as their opening movement. With the exceptions to which attention already has been drawn, the Choral Cantatas invariably are opened by a Chorus of this type. The Choral Fantasia, the logical outcome of Bach’s experiments in organ and orchestral form, was essential to the structure of the Church Cantata, as he conceived it. The Choral Fantasia was evolved from the Organ Choral Prelude, a fact which is patent when Bach’s treatment of the tune “Ach wie flüchtig” in the Orgelbuchlein is compared with his Choral Fantasia on the melody in Cantata 26. The Organ Choral Prelude did not merely evolve the form of the Choral Fantasia itself. Bach’s orchestral sense ordained, upon the analogy of the Concerto, the relation of the Choral Fantasia to the Choral Cantata, of which it is at once a part and the key. Like the first movement of the Concerto, the Choral Fantasia colours and defines the whole Cantata. Its grand purpose was, in Spitta’s words1 , “the perfect poetic and musical developement of a particular Hymn by means of all the artistic material which Bach had assimilated by a thorough study of the art of his own and former times.” In the Choral Fantasia the Hymn, words and melody, is presented with all the technique of Bach’s mature genius. It is perfect and complete in itself, and yet a detail in an ordered whole. The Cantatas contain seventy-eight movements of the Choral Fantasia form2 . They are as follows: Nos. 1 a, 2 a3 , 3 a, 4 a, 4 d , 5 a, 7 a, 8 a, 9 a, 10 a, 11 b, 14 a, 16 a, 20 a, 21 , 23, 26 a, 27 a4 , 28 a , 33 a, 38 a , 41 a, 61 a, 61 b, 62 a, 68, 73 a , 77 a, 78 a, 80 a, 80 c5 , 91 a, 92 a, 93 a, 94 a, 95 a6 , 96 a, 97 a, 98, 99 a, 100 a, 101 a, 106 c, 107 a, 109, 111 a, 112 a, 113 a, 114 a, 115 a, 116 a, 117 a, 1187 , 121 a , 122 a, 123 a, 124 a, 125 a, 126 a, 127 a, 128 a, 129 a, 130 a, 133 a, 135 a, 137 a, 138 a ,8 , 138 b , 138 c, 139 a, 140 a, 143 b, 177 a, 178 a, 180 a, 182, 192 a, 192 b. With few exceptions all the foregoing are the opening movement of a Cantata. The exceptions are: No. 28 a, which is the second movement; No. 138 b, which is the third movement; No. 4 d, which is the fourth movement; No. 80 c, which is the fifth movement; No. 182, which is the seventh movement; No. 21, which is the ninth movement; Nos. 11 b, 23, 61 b, 106 c, 109, 138 c, 143 b, 192 b, which are the concluding movement1 . The Simple ChoralThe majority of the Choral movements in the Cantatas, as in the “Passions” and Oratorios, are in simple Hymn form, i.e. suitable for congregational use, but not necessarily so used. While a Choral Fantasia as a general rule begins a Cantata, a Simple Choral, almost invariably, brings it to a close. Only in three instances—Nos. 145 a, 153 a, D 4—does a Simple Choral begin a Cantata2 . It is remarkable that Bach generally preferred to bring his Cantatas to an end in a simple and unpretentious form. That he did so with the reverent purpose of rivetting a last impression of the Hymn in its most arresting form cannot be doubted. The following are the one hundred and thirty-four Simple Chorals in the Cantatas: Nos. 2 b, 3 c, 4 g, 5 b, 6 b, 7 b, 8 b, 9 b, 10 b, 11 a, 13 b, 14 b, 16 b, 17, 18, 20 b, 20 c, 25, 26 b, 27 b, 28 b, 30, 32, 33 b, 36 b, 36 d, 37 b, 38 b, 39, 40 a, 40 b, 40 c, 42 b, 43, 44 b, 45, 47, 48 a, 48 b, 55, 56, 57, 60 b, 62 b, 64 a, 64 c, 65 b, 66, 67 a, 67 b, 70 a, 72, 73 b, 74, 77 b, 78 b, 80 d, 81, 83, 84, 85 b, 86 b, 87, 88, 89, 90, 92 e, 93 g, 94 d, 96 b, 99 b, 102, 103, 108, 110, 111 b, 113 e, 114 c, 115 b, 116 b, 117 b, 117 c, 119, 120, 121 b, 122 c, 123 b, 124 b, 125 c, 126 c, 127 b, 132, 133 b, 135 b, 139 b, 140 c, 144 a, 144 b, 145 a, 145 b, 146, 148, 151, 153 a, 153 b, 153 c, 154 a, 154 b, 155, 156 b, 157, 158 b, 159 b, 162, 163, 164, 165, 166 b, 168, 169, 176, 177 b, 178 e, 179, 180 c, 183, 184, 187, 188, 194 a, 197 a, 197 b, U 1, D 4. The Embellished ChoralClosely related to the Simple Choral is the Embellished, or decorated Simple, form, of which there are thirty-five examples in the Cantatas: Nos. 1 b, 12, 19, 29, 31, 52, 59, 64 b, 65 a, 69 a, 69 b, 70 b, 79 b, 91 c, 95 c, 97 b, 101 f, 104, 112 b, 128 b, 130 b, 136, 137 d, 149, 161, 172, 174, 175, 185, 190 b, 194 b, 195, U 3, D 2, D 3. Excepting Nos. 59, 64 b, 65 a, these Chorals conclude the Cantata. Bach’s purpose in regard to them therefore is obvious. In form they are identical with the Simple Choral. They differ in that, while in the Simple Choral the orchestra merely doubles the voice parts, in the Embellished form certain instruments have independent parts, giving brilliance or adding an ornament to the final statement of the tune. In Nos. 19, 29, 69 a, 130 b, 137 e, 149, 190 b, and U 3, Bach secures an impressive ending by adding Trumpets and Timpani. In No. D 3 he uses two Trumpets obbligati1 . In Nos. 79 b, 91 c, and 195, Horns and Timpani are employed in a similar manner, while in Nos. 1 b, 52, 112 b, 128 b, D 2, Horns emphasise or support the melody2 . In No. 65 a the Flutes in octave accentuate, and in No. 161 weave an arabesque round the melody3 . In No. 175 the Strings and Flutes are in unison4 . In Nos. 59, 70 b, 95 c, 97 b, 136, 172, 185, the Violins are obbligati or the Strings support the inner parts of the vocal harmony5 . In No. 31 the First Violins and Trumpet are obbligati, and No. 12 provides a similar part for the Oboe or Trumpet1 . In No. 64 b Bach adds an Organ pedal2 . Nos. 69 b, 101 f, 104, 174, and 194 b contain unimportant additions to the inner vocal parts3 . In a large number of cases a Simple Choral is strengthened by the addition of octaves in the Continuo. The Extended ChoralThe Extended Choral, familiar in the “Christmas Oratorio4 ,” presents the melody in Simple four-part form, but the lines of the Hymn are separated by orchestral interludes which, with the addition of an introduction, give the movement in some cases almost the proportions and character of a Choral Fantasia5 . There are twenty-three Chorals of this kind in the Cantatas: Nos. 3 b6 , 15, 22, 24, 41 b, 46, 75 a (c), 76 a, 76 b, 79 a, 92 d , 100 b, 105, 107 b, 129 b, 142, 147 a, 147 b, 167, 171, 178 d , 186, 190 a . All of them are the final movements of a Cantata, or of the first Part of a Cantata, except Nos. 3 b, 79 a, 92 d, 147 a, 178 d, and 190 a. In the Cantatas, therefore, as in the “Christmas Oratorio,” Bach’s purpose in regard to the Extended Choral is clear. The Unison ChoralAmong the Choral movements for individual voices the Unison Chorals are the most numerous. They number twenty-one, and are as follows, the voice to which the melody is given being stated in the bracket: Nos. 4 c (T.), 4 e (B.), 6 a (S.), 13 a (A.), 36 c (T.), 44 a (T.), 51 (S.), 85 a (S.), 86 a (S.), 92 c (A.), 95 b (S.), 113 b (A.), 114 b (S.), 137 b (A.), 140 b (T.), 143 a (S.), 166 a (S.), 178 c (T.), 180 b (S.)1 , 199 (S.). In this group also must be included No. 80 c, which is a Unison Choral Fantasia for S.A.T.B. As Schweitzer points out2 , most of these Unison Chorals are exceedingly appropriate for use in liturgical services; the Soprano Chorals especially would be effective with instrumental or Organ accompaniment. The Aria ChoralThe term Aria, as Bach used it, connotes a song in rhythmical proportions for one or more voices. In the Cantatas the term is applied to movements for one, two, and three voices. It will be convenient to set them out in three categories under the designations Solo, Duetto, Terzetto. There are three Solo Arias, Nos. 93 c, 93 f, and 101 c, the first for Tenor, the second for Soprano, the third for Bass. In all of them only snatches of the Choral melody are introduced. The Duetto movements are variously described in Bach’s score as “Choral,” “Arie,” “Arie und Choral,” “Arie (Duett).” The following are the fifteen examples of this form: Nos. 4 f (S.T.), 36 a (S.A.), 37 a (S.A.), treat the cantus in canon. In Nos. 4 b (S.A.), 71 (S.T.), 80 b (S.B.), 131 a (S.B.), 131 b (A.T.), 156 a (S.T.), 158 a (S.B.), and 159 a (S.A.), the cantus is given in every case to one of two voices, the first stated in the bracket. In No. 93 d (S.A.), marked “Arie (Duett) und Choral,” the cantus is played by the Strings; in No. 137 c (T.) by the Tromba. In Nos. 101 e (S.A.) and 113 d (S.A.), the cantus is only suggested. The single example of the Terzetto form is No. 122 b (S.A.T.), where the Alto, with the Violins and Viola, has the cantus. The Dialogus ChoralInto the Cantata “Ach Gott, wie manches Herzeleid” (No. 58), for the Sunday after the Circumcision, 1733, Bach introduced two numbers in which Soprano and Bass voices converse, the former to the melody of the Choral, the latter in Recitativo. At about the same time, in “O Ewigkeit, du Donnerwort” (No. 60), for the Twenty-fourth Sunday after Trinity, Bach wrote another Cantata which is also in the form of a conversation between two characters. Hence their designation as a “Dialogus” in the score. Besides these two “Dialogus” Cantatas, there are twenty-six movements in the Cantatas which are in the nature of a conversation between the Choral cantus and a voice or voices speaking in Recitativo1 . Bach marks them indifferently, “Recitativ,” or “Recitativ und Choral.” But they can be sub-divided into three classes. In the first, the conversation is between two voices of contrasted calibre: their numbers are Nos. 49 (S.B.), 58 a (S.B.), 58 b (S.B.), 60 a (A.T.), 106 b (A.B.), 126 b (A.T.), the Choral cantus in every case being allotted to the first of the two voices stated in the bracket, except in the case of the last, where both voices share the cantus. A larger number are movements for a single voice, though improbably for the same individual voice. They are Nos. 91 b (S.), 92 b (B.), 93 b (B.), 93 e (T.), 94 b (T.), 94 c (B.), 101 b (S.), 101 d (T.), 113 c (B.), 125 b (B.), and 178 b (A.). The third class of Dialogue Chorals consists of Choruses which have been classified already, but belong also to the class under discussion. They exhibit the same determining characteristic, in that they consist of alternating periods of the Choral (S.A.T.B.) and Recitativo for one or more voices of the chorus. They are Nos. 3 b, 27 a, 73 a, 92 d, 95 a, 138 a, 138 b, 178 d, and 190 a. The MotettsIt was the custom at Leipzig, both in St Thomas’ and St Nicholas’ Churches, for Motetts to be sung, usually in Latin, at the morning and evening service; also, during the communion office, occasionally on the high festivals, and always on Palm Sunday and Holy Thursday. Special occasions, and particularly funerals, also were marked by their performance. Hence Bach had large opportunity to write in this form. Yet, no Latin Motetts of his are extant, though there is evidence suggesting the conclusion that he wrote one. Of the Motetts with German texts that have come to us under Bach’s name only six are by him. His barrenness in this form is explained by the fact that, in common with the musicians of his period, he held the Motett of little importance beside the Cantata, the “principal music” of the Church service, and in general was content to perform other composers’ works1 . The following six Motetts indubitably are Bach’s:
Of the six Motetts only the last is without Choral movements. In form the latter for the most part are Simple (Motetts 2, 3, 5). A single example of the Extended form is found in Motett 1, and of the Choral Fantasia or Motett form in Motett 3 (verse 5) and Motett 42 . The Hymns of the “Passions,” Oratorios, Cantatas, and MotettsBach employs 154 congregational Hymns in his choral works, of which two (“O Gott, der du aus Herzensgrund,” and “Komm, Gott Schopfer, heiliger Geist”) occur in Cantatas of doubtful authenticity, and one (“Wenn einer alle Ding verstünd”) cannot be regarded positively as Bach’s selection. The source whence Bach drew so large a supply of Hymn texts can be indicated readily. Spitta prints3 a “Specification of the property belonging to and left by Herr Johann Sebastian Bach, deceased July 28, 1750, late Cantor to the school of St Thomas, in Leipzig.” Under the heading “Theological books in octavo,” there is the entry, “Wagner, Leipziger Gesangbuch, 8 vols.” It was valued at one thaler, and was the only Hymn book in Bach’s possession at the time of his death. Paul Wagner’s “Andachtiger Seelen geistliches Brand- und Gantz-Opfer. Das ist: vollstandiges Gesangbuch in acht unterschiedlichen Theilen” was published at Leipzig in 1697. Of the 154 Hymns used by Bach all but eleven are found there1 . Of the eleven, all but two (Neander’s “Lobe den Herren, den machtigen Konig der Ehren” and Neumann’s “Auf, mein Herz”) are found in the 1708 edition of Crüger’s Praxis Pietatis Melica. The choice of Hymn texts therefore need not have occasioned Bach much research. The following are the 154 Hymns, tabulated under the names of their authors: Johannes Agricola (1492-1566). Ich ruf’ zu dir, Herr Jesu Christ. Johann Georg Albinus (1624-79).
Albrecht Margrave of Brandenburg-Culmbach (1522-57). Was mein Gott will, das g’scheh’ allzeit. Johann Michael Altenburg (1584-1640). Verzage nicht, du Häuflein klein. Anark of Wildenfels (d. 1539). †O Herre Gott, dein gottlich Wort. Matthäus Avenarius (1625-92). O Jesu, meine Lust. Cornelius Becker (1561-1604). Der Herr ist mein getreuer Hirt. Martin Behm (1557-1622). O Jesu Christ, mein’s Lebens Licht. Caspar Bienemann (1540-91). Herr, wie du willt, so schick’s mit mir. Franz Joachim Burmeister (1633?-72). Es ist genug: so nimm, Herr, meinen Geist. Elisabethe Cruciger (d. 1535). Herr Christ, der einig’ Gott’s Sohn. Nicolaus Decius (d. 1541). O Lamm Gottes unschuldig. David Denicke (1603-80).
Paul Eber (1511-69).
Jakob Ebert (1549-1614). Du Friedefürst, Herr Jesu Christ. Emilie Juliane Countess of Schwarzburg-Rudolstadt (1637-1706). *Wer weiss, wie nahe mir mein Ende. Paul Flemming (1609-40). In allen meinen Thaten. Johann Franck (1618-77).
Michael Franck (1609-67). Ach wie fluchtig. Johann Burchard Freystein (1671-1718). Mache dich, mein Geist, bereit. Ahashuerus Fritsch (1629-1701).
Caspar Fuger (d. c. 1592). Wir Christenleut’. Paul Gerhardt (1607-76).
Justus Gesenius (1601-73). †O Gott, der du aus Herzensgrund2 . Johannes G. Gigas (1514-81). Ach, lieben Christen, seid getrost. Johann Graumann (1487-1541). Nun lob’, mein’ Seel’, den Herren. Georg Gruenwald (d. 1530). Kommt hei zu mir, spricht Gottes Sohn. Johann Heermann (1585-1647).
Ludwig Helmbold (1532-98).
Valerius Herberger (1562-1627). Valet will ich dir geben. Nicolaus Herman (c. 1485-1561).
Johann Hermann (fl. ? 1548-63). Jesu, nun sei gepreiset. Sebald Heyden (1494-1561). O Mensch, bewein’ dein’ Sunde gross. Ernst Christoph Homburg (1605-81). Ist Gott mein Schild und Helfersmann. Martin Janus (c. 1620-82). Jesu, meiner Seelen Wonne. Justus Jonas (1493-1555). Wo Gott der Herr nicht bei uns halt. Christian Keimann (1607-62).
Christoph Knoll (1563-1650). Herzlich thut mich verlangen. Johann Kolross (d. c. 1558). Ich dank’ dir, lieber Herre. Salomo Liscow (1640-89). Also hat Gott die Welt geliebt. Martin Luther (1483-1546).
Wolfgang Meusel (1497-1563). Der Herr ist mein getreuer Hirt. Martin Moller (1547-1606).
Heinrich Müller (1631-75). Selig ist die Seele. Joachim Neander (1650-80). *Lobe den Herren, den machtigen König der Ehren. Caspar Neumann (1648-1715).
Georg Neumark (1621-81). Wer nur den lieben Gott lasst walten. Philipp Nicolai (1556-1608).
Johannes Olearius (1611-84).
Georg Michael Pfefferkorn (1645-1732). *Was frag ich nach der Welt1 . Symphorianus Pollio (fl. 1507-33). Meine Seel’ erhebt den Herren. Adam Reissner (1496-c. 1575). In dich hab’ ich gehoffet, Herr. Bartholomaus Ringwaldt (1532-c. 1600).
Martin Rinkart (1586-1649). Nun danket alle Gott. Johann Rist (1607-67).
Samuel Rodigast (1649-1708). Was Gott thut, das ist wohlgethan. Johann Christoph Rube (1665-1746). Wohl dem, der sich auf seinen Gott. Christoph Runge (1619-81). Lasst Furcht und Pein. Gottfried Wilhelm Sacer (1635-99). Gott fahret auf gen Himmel. Hans Sachs (1494-1576). †Warum betrübst du dich, mein Herz. Martin Schalling (1532-1608). Herzlich lieb hab’ ich dich, O Herr. Johann Hermann Schein (1586-1630). Mach’s mit mir, Gott, nach deiner Gut’. Cyriacus, Schneegass (1546-97).
Johannes Schneesing (d. 1567). Allein zu dir, Herr Jesu Christ. Balthasar Schnurr (1572-1644). O grosser Gott von Macht. Johann Jakob Schütz (1640-90). *Sei Lob und Ehr’ dem hochsten Gut. Nicolaus Selnecker (1532-92). Ach bleib’ bei uns, Herr Jesu Christ. Lazarus Spengler (1479-1534). Durch Adams Fall ist ganz verderbt. Paul Speratus (1484-1551). Es ist das Heil uns kommen her. Paul Stockmann (1602?-36). Jesu Leiden, Pein und Tod. Christoph Tietze (1641-1703). Ich armer Mensch, ich armer Sunder. Josua Wegelin (1604-40). Auf Christi Himmelfahrt allein. Sigismund Weingartner (fl. 1607). † Auf meinen lieben Gott. Michael Weisse (1480?-1534). Christus, der uns selig macht. Georg Weissel (1590-1635). Nun liebe Seel’, nun ist es Zeit. Georg Werner (1589-1643). * Ihr Christen auserkoren. Caspar Ziegler (1621-90). Ich freue mich in dir. Anonymous.
The Hymn Tunes used by BachDuring his Cantorship at Leipzig Bach systematically collected, harmonised, and in some cases refashioned, Hymn tunes whose qualities attracted him. At the time of his death he had brought together about two hundred and forty melodies in a manuscript which unfortunately has disappeared. In 1764 it was in the possession of the Leipzig music seller, Bernhard Christoph Breitkopf, into whose hands it passed, presumably, in the lean years that befell Bach’s widow after his death in 1750. In Breitkopf’s catalogue (1764) the work is described as “Bachs, J. S. Vollständiges Choralbuch mit in Noten aufgesetzten Generalbasse an 240 in Leipzig gewöhnlichen Melodien.” Copies of it were offered at the price of ten thalers1 . But, as none exist, it is doubtful whether the “Choralbuch” in fact was published in that form and year. It would appear, however, that the greater part of Bach’s collection was published in different works before and after his death. In 1736 Georg Christian Schemelli, “Schloss-Cantor” at Naumburg-Zeitz, in Saxony, published a “Musicalisches Gesang-Buch, Darinnen 954 geistreiche, sowohl alte als neue Lieder und Arien, mit wohlgesetzten Melodien, in Discant und Bass, befindlich sind” (Breitkopf, Leipzig, 1736). Bach was invited to prepare the collection for the press. Its tunes, the Preface declared, were either “ganz neu” composed by him, or had been supplied by him with a Bass. The 954 Hymns share between them no more than sixty-nine melodies, about a quarter of which are Bach’s own compositions1 . The Preface announced that about two hundred more melodies were ready for a second edition, should one be called for, as unhappily was not the case. It would seem, therefore, that Bach proposed to place his whole collection at Schemelli’s service. Bach continued his collection of Hymn tunes, in spite of the cold reception given to Schemelli’s volume. To his own copy of the book he added eighty-eight harmonised Chorals. Among the effects of Philipp Emmanuel Bach in 1790 appears “The Naumburg Hymn book, containing printed Chorals and also eighty-eight Chorals written out in parts.” Unhappily, it cannot be traced. Meanwhile in 1764 Breitkopf of Leipzig acquired a ms. containing one hundred and fifty four-part Hymn tunes harmonised by Bach. Simultaneously, the Berlin printer Friedrich Wilhelm Birnstiel resolved to issue a printed edition of Bach’s Chorals. He invited Philipp Emmanuel Bach to edit and preface it with an Introduction. In 1765 the book was issued. It numbered fifty pages containing one hundred Hymn tunes, and bore the title: “Johann Sebastian Bachs vierstimmige Choralgesänge gesammlet von Carl Philipp Emmanuel Bach” (Berlin & Leipzig, 1765). A second Part, with which Philipp Emmanuel was not associated, was published in 1769. It contained one hundred more Hymn tunes, among them, “O Herzensangst, O Bangigkeit,” “Gottlob, es geht nunmehr zum Ende,” and “Nicht so traurig, nicht so sehr.” Twenty years followed the publication of the first Part of Birnstiel’s edition before Breitkopf issued a completer collection of Bach’s Chorals in four Parts between the years 1784 and 1787. Philipp Emmanuel edited this collection also. Its first Part, published at Leipzig in 1784, bore the title: “Johann Sebastian Bachs vierstimmige Choralgesänge, Erster Theil. Leipzig bey Johann Gottlob Immanuel Breitkopf.” The second, third, and fourth Parts were issued in 1785, 1786, and 1787 respectively, the whole collection containing three hundred and seventy1 Chorals, including a large number from Bach’s extant Church compositions. Finally, in 1843, Carl Ferdinand Becker (1804-77), Organist of St Nicholas’ Church, Leipzig, issued a collection of two hundred and ten four-part Hymn settings, under the title “Joh. Seb. Bachs vierstimmige Kirchengesange” (Leipzig: Robert Friese). Two more recent collections of Bach’s Chorals are accessible and inexpensive. The earlier, Ludwig Erk’s “Johann Sebastian Bach’s mehrstimmige Choralgesänge und geistliche Arien,” is published by C. F. Peters, Leipzig, in two volumes (Prefaces dated 1850 and 1865) which contain three hundred and nineteen Choral settings. Erk gives some of the longer as well as the simple Hymn settings, besides some tunes drawn from other sources than those which the second of the two collections explores. The latter, “Johann Sebastian Bach’s Werke. Für Gesang. Gesammtausgabe fur den praktischen Gebrauch. vii. Choralgesange” (Leipzig, 1898), edited by Bernhard Friedrich Richter, contains three hundred and eighty-nine Chorals, including one hundred and eighty-five edited by Philipp Emmanuel Bach 1784-87 which were not used in Bach’s extant Cantatas. They are printed from B. G. xxxix (“Arien und Lieder”), which contains them all. Richter’s edition also includes a complete collection of the Simple Chorals used in Bach’s Oratorios, “Passions,” Cantatas, and Motetts. Reference is made to it throughout the following pages, and to Erk in cases where he prints a setting not found in Richter’s “Choralgesänge.” Of this great corpus of Choral music Bach introduces into his concerted Church works—the “Passions,” Oratorios, Cantatas, Motetts—one hundred and four Hymn tunes, including, however, one which occurs in a Cantata of doubtful authenticity. Besides these one hundred and four melodies, Bach uses twenty-eight in his Organ works that are not found elsewhere in his music. Therefore, excluding his own compositions, it appears that he introduced into the works that have come down to us the following one hundred and thirty-two Hymn tunes: Johann Rodolf Ahle (1625-73).
Heinrich Albert (1604-51). Gott des Himmels und der Erden. Johann Michael Altenburg (1584-1640). Herr Gott, nun schleuss den Himmel auf. Louis Bourgeois (fl. 1541-61). Seth Calvisius (1556-1615). In dich hab’ ich gehoffet, Herr. Johann Crüger (1598-1662).
Wolfgang Dachstein (d. c. 1561). An Wasserflussen Babylon . Nicolaus Decius (d. 1541).
Johann Georg Ebeling (1637-76). Warum sollt’ ich mich denn grämen. Wolfgang Figulus (c. 1520-91). Helft mir Gott’s Gute preisen (second melody). Melchior Franck (d. 1639). O grosser Gott von Macht . Michael Franck (1609-67). Ach wie fluchtig. Caspar Fuger (d. 1617). Wir Christenleut’. Giovanni Giacomo Gastoldi (1556?-1622). In dir ist Freude. Bartholomaus Gesius (1555?—1613-4).
Matthaus Greitter (d. 1550 or 1552). Es sind doch selig alle1 . Andreas Hammerschmidt (1612-75).
Hans Leo Hassler (1564-1612). Herzlich thut mich verlangen3 . Bartholomaus Helder (1585?-1635). Das Jesulein soll doch mein Trost. Nicolaus Herman (1485?-1561).
Heinrich Isaak (b. c. 1440). O Welt, ich muss dich lassen4 . Johann Kugelmann (d. 1542). Nun lob’, mein’ Seel’, den Herren . Martin Luther (1483-1546)
Georg Neumark (1621-81). Wer nur den lieben Gott lasst walten. Philipp Nicolai (1556-1608).
Johann Rosenmüller (1619-84). Welt, ade! ich bin dein mude. Johann Hermann Schein (1586-1630). Mach’s mit mir, Gott, nach deiner Gut’. Johann Schop (d. c. 1665).
Johann Steurlein (1546-1613) Das alte Jahr vergangen ist2 . Caspar Stieler (1679). Wo soll ich fliehen hin . Melchior Teschner (1614). Valet will ich dir geben. Daniel Vetter (d. 1721). Liebster Gott, wann werd’ ich sterben? Gottfried Vopelius (1645-1715).
Melchior Vulpius (1560?-1615).
Johann Walther (1496-1570).
Anonymous.
Bach’s Original Hymn TunesThough the topic is engrossing, little effort has been made to identify Bach’s original Hymn tunes and to sift those which unquestionably are his from others attributed to him wrongly. Carl von Winterfeld, who first gave the subject critical examination, left a heavy legacy of error, which Ludwig Erk did somewhat to lighten. Spitta3 devotes a few pages to the subject, but they are disfigured by very serious mistakes. Schweitzer carries the investigation no farther and merely records the conjectures of others. It will be useful, therefore, though the enquiry is not directly relative to the Cantatas and Motetts, to explore the subject in the light of information which Spitta did not possess. At the outset, it is advisable to clear the ground by eliminating tunes which have been or are asserted to be by Bach and demonstrably are not. Spitta names1 ten Hymn tunes which are stated to be Bach’s by Winterfeld or others. In fact not one of them is by him. They are as follows: (1) Alles ist an Gottes Segen (Choralgesänge, No. 19). Zahn, Nos. 3839-3842 b, prints five settings of the Hymn from German Hymn books between 1731 and Bach’s death in 1750. Their common source appears to be G. Voigtländer’s secular tune (1647), “Fillis sass an einem Böttgen” (Zahn, No. 3838). Bach’s is a variation of the original tune. König has two settings closely cognate to Bach’s (Zahn, Nos. 3841, 3842 a). (2) Auf, auf, mein Herz, und du mein ganzer Sinn (Erk, No. 162; Choralgesange, No. 24). The melody (Zahn, No. 824) is by Johann Staden (1581-1634). (3) Dank sei Gott in der Hohe (Choralgesange, No. 54). The tune was published by Bartholomäus Gesius in 1605 (Zahn, No. 5391) to the anonymous Hymn, “Jesus Christ, unser Herre,” and perhaps is his own composition. (4) Das walt’ Gott Vater und Gott Sohn (Choralgesänge, No. 58; Erk, No. 182). The tune was published by Daniel Vetter in 1713 (Zahn, No. 673). (5) Herr, nun lass’ in Friede (Choralgesänge, No. 148; Erk, No. 227). The tune is found in the Hymn book of the Bohemian Brethren in 1694 (Zahn, No. 3302). (6) Ist Gott mein Schild und Helfersmann (Choralgesange, No. 216; Erk, No. 78). The tune is printed in a Dresden collection of 1694 (Zahn, No. 2542. See Cantata 85). (7) Meinen Jesum lass’ ich nicht. There are two tunes to this Hymn in Bach’s collections. One, which Bach uses in several Cantatas (see Cantata 70), is perhaps by Andreas Hammerschmidt and dates from 1658 (Zahn, No. 3449; Choralgesange, No. 242; Erk, No. 88). The second (Choralgesange, No. 241) dates from 1686 (Zahn, No. 3448 a). (8) O Jesu, du mein Bräutigam (Choralgesange, No. 145). The melody is the old tune “Rex Christe factor omnium,” and is found in print in 1527 (Zahn, No. 314 a). (9) O Mensch, schau Jesum Christum an (Choralgesänge, No. 287; Erk, No. 282). The melody is as old as 1555, when it appears in association with Triller’s Hymn, “Der Herr Gott sei gepreiset” (Zahn, Nos. 3984, 3994 a). It is found also in a collection dated 1603, to which the Choralgesänge refers it. (10) Schwing dich auf zu deinem Gott (Choralgesänge, No. 305; Erk, No. 114). The tune is as old as 1680 (Zahn, No. 4870). See Cantata 40. Spitta himself attributes the following melodies to Bach, inaccurately in every case: (1) Also hat Gott die Welt geliebt (it is neither in the Choralgesänge nor Erk). The tune is by Gottfried Vopelius and dates from 1682 (Zahn, No. 5920). See Cantata 68. (2) Alle Menschen müssen sterben. There are two tunes to this Hymn in Bach’s collections. One (Choralgesänge, No. 17; Erk, No. 158) is by Jakob Hintze (1622-1702) (Zahn, No. 6778). It is in Hymns A. & M., No. 127 (“At the Lamb’s high feast we sing”). The second melody (Choralgesänge, No. 18; Erk, No. 159) demands a more intricate examination. It occurs in Cantata 162 and is discussed there infra at length. (3) Da der Herr Christ zu Tische sass (Choralgesänge, No. 52; Erk, No. 178). The tune dates from 1611 (Zahn, No. 2503). (4) Für Freuden lasst uns springen (Choralgesänge, No. 106). The tune occurs in 1648 (Zahn, No. 2339). (5) Herr Jesu Christ, du hast bereit (Choralgesänge, No. 140; Erk, No. 222). The tune is found in a Silesian ms. collection dated 1742 as well as in Reimann’s collection in 1747 (Zahn, No. 4711). Bach’s version differs slightly from both. (6) Ich freue mich in dir (Choralgesänge, No. 181; Erk, No. 64). The melody occurs in Cantata 133 and is there discussed. The balance of probability is against Bach’s authorship. (7) Meines Lebens letzte Zeit (Choralgesänge, No. 248). The tune is found in a Gotha Psalter of 1726 (Zahn, No. 6380). (8) So giebst du nun, mein Jesu, gute Nacht (Choralgesange, No. 310). The tune dates from 1694 (Zahn, No. 849). We can pass now to a number of tunes which are found for the first time in one or other of the Bach collections and, for that reason, establish a presumptive right to be regarded as his compositions. They number forty-two. In the Notenbüchlein vor Anna Magdalena Bach, which bears the date 1725 on the cover, there are seven Choral tunes which are not found in print before that date:
In Schemelli’s Hymn book of 1736 there are twenty-one tunes not found in any earlier collection:
In the second Part (1769) of F. W. Birnstiel’s Choralgesänge there are three new Choral tunes:
In the third Part of Carl Philipp Emmanuel’s Choralgesänge (1786) there is one new melody:
In Becker’s collection (1843) there are two Choral tunes attributed to Bach by Zahn:
Spitta prints1 five Choral tunes which have come down to us through Bach’s pupil, Johann Ludwig Krebs:
Finally there are two Choral Arias in the “Christmas Oratorio,” Nos. 38-40, 42:
And another in the fifth Motett:
The last three are the only tunes of his own composition which Bach has wedded to the stanzas of a congregational Hymn in the whole range of his concerted Church music2 .  “Ach, dass nicht die letzte Stunde” Schemelli 1736 no. 831 Zahn, No. 6721, regards the above melody as “probably,” and the Bass as “certainly,” by Bach. The melody is not found in any other Hymn book. It has the characteristics of Bach’s Hymn tunes, and may be attributed to him.  “Auf, auf, die rechte Zeit ist hier” Schemelli 1736 no. 171 Zahn, No. 705, regards this melody as “perhaps” by Bach. It is not found elsewhere. Apart from that circumstance the tune does not suggest Bach’s authorship. The repeated concluding phrase is not required by Martin Optiz’ Hymn, which is one of four lines. As is so often the case where Bach’s Hymn tunes are in question, Johann Balthasar König (1691-1758) has a melody on the Hymn in his Harmonischer Lieder-Schatz (1738). As the Hymn practically had been neglected since Jakob Hintze gave it a melody in 1666, it is curious that Bach and Konig, the one at Leipzig and the other at Frankfurt a. Main, should have turned their attention to it simultaneously.  “Beschrankt, ihr Weisen dieser Welt” Schemelli 1736 no. 689 
Zahn, No. 7765, attributes the above melody to Bach without qualification. Indeed, it declares his authorship unmistakeably. It is not found in any other Hymn book.  “Das walt’ mein Gott, Gott Vater, Sohn” Krebs MS. The Hymn’s earliest tune is found in the Gotha Cantional of 1648. Zahn (No. 4217) conjectures that it was derived from a secular source. It had a wide vogue in Hymn books of the second half of the seventeenth and first half of the eighteenth century. Jakob Hintze in 1690 wrote a minor melody indirectly based upon it, the last phrase of which is identical with Krebs’ ms. The latter cannot be regarded as an original tune, and is not at all in Bach’s idiom.  “Dich bet ich an, mein hochster Gott” Schemelli 1736 no. 396 
Zahn, No. 2437, attributes the above melody to Bach without qualification. It is characteristic of his Aria form and is certainly his. It is not found elsewhere.  “Dir, dir, Jehovah, will ich singen” Notenbuchlein 1725 p. 51 
Bach’s authorship of the tune is vouched for by Philipp Emmanuel Bach. On p. 50 of the Notenbüchlein1 the tune is also printed in four-part harmony over the same Bass (Erk, No. 19; Choralgesänge, No. 67). Zahn, No. 3068, prints the melody only, from Schemelli, No. 397. Erk, No. 20, adds the figured Bass from the latter book. It differs from the Notenbuchlein. The tune is not found in other Hymn books.  “Eins ist noth; ach Herr, dies eine” Schemelli 1736 no. 112 The groundwork of the customary melody of the above Hymn is Joachim Neander’s “Grosser Prophete, mein Herze begehret,” published in 1680 (Zahn, No. 3947). A large number of variations of that tune exist, one of which (Zahn, No. 7127) is set to the Hymn “Eins ist noth” in Freylinghausen’s Hymn book (1704). That Bach was familiar with the tune appears from the fact that, with an altered first part, it is among the Choralgesange of 1769, set to the same Hymn (Erk, No. 193; Choralgesänge, No. 77). The Schemelli tune, though modelled on the Neander-Freylinghausen form, is a new melody. Zahn, No. 7129, attributes it to Bach without qualification, and certainly correctly. It is not found in any other eighteenth century Hymn book.  “Gedenke doch, mein Geist, zurucke” Notenbuchlein 1725 p. 52 
The melody is an Aria—it is so called in the ms.—rather than a Hymn tune. It is copied in Anna Magdalena’s hand1 and indubitably is by Bach.  “Gieb dich zufrieden und sei stille” Notenbuchlein 1725 p. 31 
The melody and Bass are by Bach. Spitta1 draws attention to the “lofty and individual beauty” of the tune. The Bass is unfigured. On the same page of the Notenbüchlein the melody, with a slightly altered Bass, is given in E minor (Choralgesange, No. 111). Erk, Nos. 43 and 208, gives both forms. Zahn, No. 7417a, and Erk, No. 44, give the E mi. version in a somewhat different form.  “Gieb dich zufrieden und sei stille” Notenbuchlein 1725 p. 30 Spitta remarks1 of the melody, that it “leaves us in doubt as to its composer; it is strikingly simple for a composition of Bach’s; but at all events it is new.” König prints an almost identical melody to the same Hymn in 1738 (Zahn, No. 7419). Probably the parent of the Bach-König melody is Johann Georg Ebeling’s setting of the Hymn in a minor key published in 1666 (Zahn, No. 7414). The opening phrases of all three are identical, as are the closing cadence of Ebeling’s and König’s settings. Had Konig received the tune as Bach’s it is difficult to suppose that he would have altered it. Moreover, he uses it in a much more changed form for another Hymn (Zahn, No. 1815). Bach’s authorship therefore is improbable.  “Gott, mein Herz dir Dank zusendet” Krebs MS. The melody has the Bach Aria character, and may be regarded as by him. Spitta’s notes upon the tune1 are not very intelligible in the translation. It is sufficient to remark that both of the Hymns to which he alludes are by the Countess Emilie Juliane, and that neither possessed a proper melody of its own until Bach wrote “Gott, mein Herz” for one of them.  “Gott, wie gross ist deine Gute” Schemelli 1736 no. 360 
* Zahn, No. 7937, attributes the melody and Bass to Bach without qualification. The character of the tune and the fact that the words of the Hymn are by Schemelli establish the conclusion. The tune is not found elsewhere.  “Gottlob, es geht nunmehr zum Ende” Choralgesänge 1769 no. 198 Erk, No. 212, and Choralgesange, No. 118, print the harmonised melody. The former follows Winterfeld in attributing it to Bach without qualification; the latter regards it as “wahrscheinlich” his. There seems to be no ground on which to base either conclusion. The tune is without distinction, and is not in the least possessed of Bach’s characteristics. It is included in some nineteenth century Hymn books, and seems to be another form of a tune, to the same Hymn, found in various versions (Zahn, Nos. 2852-2857).  “Hier lieg ich nun, O Vater aller Gnaden” Krebs MS. 
The melody is not found elsewhere. It has an unmistakeable Bach curve. Spitta1 points out that the Hymn “Hier lieg ich nun, O Vater” was not given a tune of its own in Schemelli’s Hymn book, nor, in fact, did it possess one. Meanwhile the Hymn, “Hier lieg ich nun, mein Gott, zu deinen Füssen,” had been rendered popular by Freylinghausen’s Hymn book (1704). Spitta hazards the suggestion that Krebs’ melody was written by Bach in anticipation of a demand for a new edition of Schemelli’s book. Spitta’s guess is supported by an interesting fact. Zahn, Nos. 953-954, prints two forms of the tune “Hier lieg ich nun, mein Gott,” dated respectively 1708 and 1719. In the latter the opening phrase is identical with Bach’s opening phrase, and its general character leaves little doubt that in writing a melody for “Hier lieg ich nun, O Vater,” Bach had in his mind that of “Hier lieg ich nun, mein Gott.”  “Ich bin, ja, Herr, in deiner Macht” Choralgesange 1786 iii. no. 251 
Zahn, No. 5878 a, remarks, “Mel. bei (von?) J. S. Bach.” Erk, No. 236, and Choralgesange, No. 174, suggest, without endorsing, Bach’s authorship. Spitta1 attributes the tune to Bach without qualification. It bears the stamp of Bach’s workmanship and is not found in the Hymn books.  “Ich gnuge mich an meinem Stande” Krebs MS. 
The melody is not found elsewhere. Its form is compatible with Bach’s authorship. Spitta1 points out that in Schemelli’s Hymn book (1736) the Hymn “Ich gnuge mich” was sung to the tune “Wer nur den lieben Gott lässt walten.” In fact it possessed no melody of its own. As in the case of “Hier lieg ich nun, O Vater,” the Krebs melody therefore may have been composed by Bach in preparation for a revised edition of the Schemelli Hymn book. But the compass of the tune is incompatible with congregational use.  “Ich halte treulich still” Schemelli 1736 no. 657 
Zahn, No. 5082, attributes the melody to Bach without qualification. Its opening phrase is reminiscent of “O Gott, du frommer Gott” (see Cantata 45), but Bach’s hand is unmistakeable. The tune is not found in any of the regular Hymn books.  “Ich liebe Jesum alle Stund” Schemelli 1736 no. 737 Zahn, No. 4732, remarks, “Mel. und Bass von (?) S. Bach.” The Hymn had its own melody (1693). Schemelli’s tune improbably is by Bach. It is not found elsewhere.  “Ich steh’ an deiner Krippen hier” Schemelli 1736 no. 195 Zahn, No. 4663, attributes the melody to Bach without qualification. There was in existence already, but not in very general use, a melody to the Hymn by Johann Georg Ebeling (1667). Another, in the Dresden Hymn book, 1694, has an opening phrase, but in a major key, to which Bach’s opening line bears a close resemblance (Zahn, Nos. 4659, 4661). It is worth noticing that when Bach used the words in the “Christmas Oratorio,” No. 59, he set them to Luther’s “Nun freut euch, lieben Christen g’mein.” That he should have given the Hymn a distinctive melody of its own two years later is explicable from that circumstance. The tune itself establishes a conviction that Bach composed it. It is not found in the regular Hymn books.  “Jesu, deine Liebeswunden” Schemelli 1736 no. 139 
Zahn, No. 1302, regards the melody as “probably” by Bach. The probable author of the Hymn, Christoph Wegleiter, died in 1706. Since it had no distinctive melody of its own, its inclusion in Schemelli’s collection suggested the provision of one. Whether Bach was the author the tune does not help to decide. It bears a very close resemblance to an anonymous melody (1729) to the Hymn “Sollt es gleich bisweilen scheinen” (Zahn, No. 1356), and is not found elsewhere. König also appears to have drawn upon the 1729 melody in 1738 to set the Hymn “Sollt es gleich” (Zahn, No. 1360).  “Jesu, Jesu, du bist mein” Schemelli 1736 no. 741 
Zahn, No. 6446, and Choralgesange, No. 191, concur in regarding the tune as probably by Bach. Spitta1 expresses himself positively to that effect. The Hymn was wedded to a proper melody of its own since 1687, and Zahn reveals the existence of four others. But none of them had much vogue, and on that ground, perhaps, Bach provided a new one for Schemelli’s Hymn book. It is not found in any other eighteenth century collection, and its Aria character seems to justify a positive ascription of it to Bach. König (1738) has a tune to the same Hymn which, greatly inferior to Bach’s, has the appearance of being a melody evolved out of it (Zahn, No. 6447).  “Komm, susser Tod” Schemelli 1736 no. 868 
Erk, No. 82, and Zahn, No. 4400, attribute the melody to Bach without qualification. It is characteristic of his Aria type, and indubitably is his. The anonymous Hymn has no earlier melody, but König (?) set it again in 1738 (Zahn, No. 4401). Bach’s tune does not occur in any Hymn book but Schemelli’s.  “Kommt, Seelen, dieser Tag” Schemelli 1736 no. 936 Zahn, No. 5185, attributes the melody to Bach without qualification. It is in the form of a Gigue and is his unmistakeably. It is not found elsewhere.  “Kommt wieder aus der finstern Gruft” Schemelli 1736 no. 938 
The stamp of Bach’s authorship is upon the melody, and Zahn, No. 4709, attributes it to him without qualification. It is not found in other Hymn books than Schemelli’s.  “Liebster Herr Jesu, wo bleibst du so lange?” Schemelli 1736 no. 874 
Zahn, No. 3969, attributes the melody to Bach without qualification. The Hymn had a melody of its own (1676), which Konig uses, and another more recent (1711). But neither had much vogue in the Hymn books, and Bach’s provision of a new melody is intelligible. If the pauses be neglected the Aria form of the melody appears, and justifies the ascription of the tune to Bach. It is not found elsewhere.  “Mein Jesu, was vor Seelenweh” Schemelli 1736 no. 283 
Zahn, No. 8383, attributes the melody and Bass to Bach without qualification. The assumption is confirmed by the fact that the words probably are by Schemelli himself, and that the tune is in Bach’s Aria form. It is not found elsewhere.  “Meine Seele, lass’ es gehen” Krebs MS. The melody, which is not found elsewhere, reads like Bach. That he should have prepared an original tune for a future edition of Schemelli is explicable in view of the fact that the Hymn had no distinctive melody of its own; the one in moderately general use was a reconstruction (1715) of “Meine Hoffnung stehet feste” (see Cantata 40). König (1738) adapted another well-known tune to the Hymn. In Schemelli, 1736, it was directed to be sung to the tune, “Herr, ich habe missgehandelt” (see Cantata 162).  “Nicht so traurig, nicht so sehr” Choralgesange 1769 no. 153 
Zahn, No. 3355, remarks, “Mel. bei (von?) Seb. Bach.” Elsewhere he speaks of it as “vermutlich von Bach1 .” Erk, No. 268, queries, and Choralgesänge, No. 253, accepts Bach’s authorship. Spitta2 attributes the tune to Bach without qualification. It is not found in any other Hymn book, and Bach’s authorship may be admitted. See also B.G. xxxix. No. 53.  “O finstre Nacht” Schemelli 1736 no. 891 
The melody is not found in any other Hymn book. The Hymn had been set by Johann Ludwig Steiner in 1723, but his tune was little known. That Bach should have provided one for the Hymn in Schemelli’s Hymn book therefore is intelligible. Zahn, No. 6171, regards the melody as “probably” by Bach. It is so distinctive of his style that his authorship may be accepted.  “O Herzensangst, O Bangigkeit und Zagen” Choralgesänge 1769 no. 178 
Zahn, No. 1003, regards the melody as “probably” Bach’s. Choralgesänge, No. 284, holds it “very probably” his. It differs greatly in character from earlier tunes in the same metre (11. 11. 11. 5), and its quasi Aria form perhaps justifies the conclusion that Bach composed it. It is not found in any Hymn book earlier than the nineteenth century.  “O liebe Seele, zieh die Sinnen” Schemelli 1736 no. 575 
Zahn, No. 7787, attributes the melody to Bach without qualification. It is, in fact, unmistakeably his, and is not found in any of the regular Hymn books.  “Schaffs mit mir, Gott, nach deinem Willen” Notenbüchlein 1725 p. 48 
Erk, No. 111, regards the melody, in form a Minuet, as “wahrscheinlich” Bach’s. Zahn, No. 2883, expresses no opinion; he quotes the melody, slightly altered, from a later text (1780). Spitta1 regards it as exhibiting “plainer tokens” of Bach’s style. It certainly has Bach’s characteristics, and having regard to where it occurs can hardly be other than his composition. It is found in a few modern Hymn books.  “Selig, wer an Jesum denkt” Schemelli 1736 no. 292 Zahn, No. 4846, attributes the melody to Bach without qualification. Its intrinsic qualities do not justify his confidence. The Bass unquestionably is Bach’s. The tune is not found elsewhere.  “Singt dem Herren, singet” Becker 1843 no. 196 Zahn, No. 6267, regards the melody as “probably” by Bach. In fact it was composed by Apelles von Lowenstern, and was published in 1644, to his own Hymn, “Singt dem Herrn ein neues Lied,” as the Choralgesange, No. 309, points out.  “So wunsch ich mir zu guter letzt” Schemelli 1736 no. 901 
The melody is not found elsewhere. Zahn, No. 5892, regards it as “probably,” and the Bass as certainly by Bach. The opening phrase of the tune is reminiscent of “Was Gott thut, das ist wohlgethan” (see Cantata 12). That fact, and especially its general atmosphere, rouse a conviction that the melody is of earlier date than 1736 and that Bach was not the author of it.  “Vergiss mein nicht, mein allerliebster Gott” Schemelli 1736 no. 627 The melody is headed: “Aria adag. di S. Bach D. M. Lips.,” and is the only one in Schemelli’s book thus distinguished. It is unfigured.  “Warum betrübst du dich und beugest” Notenbuchlein 1725 p. 46 The tune, an obvious Bach Aria, is unfigured.  “Was betrubst du dich, mein Herze” Becker 1843 no. 1871 
Zahn, No. 6830, remarks, “Mel. bei (von?) Seb. Bach.” Choralgesänge, No. 334, holds it “wahrscheinlich” his. Spitta1 attributes the melody to Bach without qualification. The Hymn, by Zacharias Hermann (1643-1716), was published in 1690, without a melody. Possibly Becker’s tune is one of those prepared by Bach for Schemelli. The tune occurs in a single, nineteenth century, Hymn book, and may be accepted as Bach’s.  “Wie wohl ist mir, O Freund der Seelen” Notenbuchlein 1725 p. 51 
Perhaps this unfigured Aria may have been designed by Bach for a future edition of Schemelli’s Hymn book. The melody obviously is Bach’s. From the foregoing examination the following tunes emerge as being either positively or with practical certainty Bach’s original compositions:
As Schweitzer points out1 , Bach’s Hymn tunes are sacred Arias rather than Chorals. “Their peculiar loveliness comes from the fact that they are the work of an artist brought up on the German Choral, writing under the influence of the formally perfect Italian melodic form.” They are not appropriate to congregational singing, and in fact have been used very little for that purpose1 . “Their charm,” Spitta remarks2 , “is like that of a pious family circle, musically cultured, and we may delight to fancy that these touching hymns, so delicately worked out in their small limits, were sung, at the master’s household devotions, by one or other of the members of his family.” [Back to Table of Contents]THE CANTATAS[Back to Table of Contents]Cantata I.Wie schön leuchtet der Morgenstern1 . Feast of the Annunciation of the B.V.M. (c. 1740) Melody: “Wie schon leuchtet der Morgenstern” ? Philipp Nicolai 1599 A Choral Cantata, upon Philipp Nicolai’s Hymn, “Wie schon leuchtet der Morgenstern,” founded on Psalm xlv, first published, with the melody, in Nicolai’s Frewden Spiegel dess ewigen Lebens (Frankfort a. Main, 1599). The Hymn was written during the plague of 1597. The initial letters of its seven stanzas (W.E.G.U.H.Z.W.) stand for “Wilhelm Ernst Graf und Herr zu Waldeck,” Nicolai’s former pupil. Nicolai was born at Mengeringhausen in 1556. He was educated at Erfurt and Wittenberg, and in 1601 became chief pastor of St Katherine’s Church, Hamburg. He died there in 1608. It is improbable that Nicolai composed the melody. Probably he adjusted it to the Hymn. The secular love song, “Wie schon leuchten die Aeugelein,” is of later date; therefore the tune cannot be regarded as a secular one transferred to the Hymn. It bears a partial resemblance to that of the fourteenth century Carol, “Resonet in laudibus.” The melody also occurs in Cantatas 36, 37, 49, 61, and 172. There is another harmonisation of it in the Choralgesange, No. 375, where, for the second part of the melody, Bach follows Gottfried Vopelius’ reconstruction of the tune, in his Neu Leipziger Gesangbuch (Leipzig, 1682 [1681]). Organ Works, Novello, xix. 23. (a)The words of the opening movement are the first stanza of Nicolai’s Hymn:
English translations of the Hymn are noted in the Dictionary of Hymnology, pp. 807, 1727. Form. Choral Fantasia (2 Corni, 2 Oboi da caccia, Strings, Continuo1 ). (b)The words of the concluding Choral are the seventh stanza of Nicolai’s Hymn:
Form. Embellished (2 Corni, 2 Ob. da caccia, Strings, Continuo). Choralgesange, No. 378. [Back to Table of Contents]Cantata II.Ach Gott, vom Himmel sieh darein1 . Second Sunday after Trinity (c. 1740) Melody: “Ach Gott, vom Himmel sieh’ darein” Anon. 1524 A Choral Cantata, on Luther’s Hymn, “Ach Gott, vom Himmel sieh’ darein,” a free rendering of Psalm xii, probably written in 1523, and first published in the so-called “Achtliederbuch,” Etlich Christlich lider Lobgesang, und Psalm (Wittenberg, 1524), where it is set to the melody, “Es ist das Heil uns kommen her” (see No. 9 infra). The Hymn was published in the same year in the Erfurt Enchiridion Oder eyn Handbuchlein, in association with the melody printed above. The tune, which Bach uses in the first and last movements of the Cantata, has a pre-Reformation origin and, no doubt, owes its present form to Johann Walther, Luther’s collaborator. Walther arranged yet a third melody for the Hymn in his Geystliche gesangk Buchleyn (Wittenberg, 1524). The melody occurs also in Cantatas 77 and 153. (a)The words of the opening Chorus are the first stanza of Luther’s Hymn:
English translations of the Hymn are noted in the Dictionary of Hymnology, p. 9. Form. Choral Motett (2 Ob., 4 Trombones, Strings, Continuo3 ). Erk, No. 149. (b)The words of the last movement are the sixth stanza of Luther’s Hymn:
Form. Simple (2 Ob., 4 Trombones, Strings, Continuo). Choralgesange, No. 7. [Back to Table of Contents]Cantata III.Ach Gott, wie manches Herzeleid1 . Second Sunday after the Epiphany (c. 1740) Melody: “O Jesu Christ, mein’s Lebens Licht” Anon. 1625  Melody: “Hilf mir, Herr Jesu, weil ich leb’ ” MS. 1602 A Choral Cantata, on the Hymn, “Ach Gott, wie manches Herzeleid,” first published in Martin Moller’s Meditationes Sanctorum Patrum (Görlitz, 1587, 2nd ed.). The Hymn is a free paraphrase of Bernard of Clairvaulx’ “Jesu dulcis memoria,” attributed to Martin Moller. Moller was born at Kropstädt, near Wittenberg, in 1547, became Cantor at Lowenberg in Silesia and eventually deacon there. In 1600 he became chief pastor at Gorlitz, and died there in 1606. The Hymn is attributed also to Conrad Hojer, Sub-Prior at Mollenbeck, near Rinteln on the Weser. In the first, second, and last movements of the Cantata Bach uses the melody generally known as “Ach Gott, wie manches Herzeleid.” By prescriptive right it should bear the name of Martin Behm’s finest Hymn, “O [Herr] Jesu Christ, mein’s Lebens Licht,” first published in 1610. The earliest version of the tune is set to Behm’s Hymn in As hymnodus sacer (Leipzig, 1625). It bears, however, so close a resemblance to a Konigsberg ms. melody of 16021 that it must be considered a derivative of that tune or of some common source. The proper, and quite distinct, melody of “Ach Gott, wie manches Herzeleid” probably was composed by Bartholomäus Gesius and appeared first in his Ein ander new Opus Geistlicher Deutscher Lieder (Frankfort a. Oder, 1605). Bach uses the melody also in Cantatas Nos. 44, 58, 118, and 153. Invariably he prefers the form of lines 1-3 in Joseph Clauder’s Psalmodia nova (Leipzig, 1630). (a)The words of the opening movement are part of the first stanza of the Hymn:
English translations of the Hymn are noted in the Dictionary of Hymnology, p. 10. Form. Choral Fantasia (2 Ob. d’amore, Trombone (col Basso), Strings, Continuo). The cantus is with the Basses. (b)The Choral of the second movement (Recitativo) is part of the first and second stanzas of the Hymn:
Form. The Chorus (S.A.T.B.) is intersected by Recitativo passages for all the four voices, which take the place of the orchestral ritornelli usual in this Extended form (Continuo2 ). (c)The words of the concluding Choral are part of the twelfth stanza of the Hymn:
Form. Simple (2 Ob. d’amore, Corno, Strings, Continuo). Choralgesange, No. 8. [Back to Table of Contents]Cantata IV.Christ lag in Todesbanden1 . Easter Day (17242 ) Melody: “Christ lag in Todesbanden” Anon. 1524 
A Choral Cantata, on Luther’s Easter Hymn, “Christ lag in Todesbanden1 ,” described in 1524 as “ ‘Christ ist erstanden’ improved.” In fact only slight traces of the latter ancient Hymn are found in Luther’s version, stanzas iv and v of which are based on the Sequence “Victimae paschali.” The Hymn, with the tune, was published in 1524, in Johann Walther’s Geystliche gesangk Buchleyn (Wittenberg), and in Enchiridion Oder eyn Handbuchlein (Erfurt). The tune, like the words, is based on old material (“Christ ist erstanden”: see Cantata 66), and probably owes its reconstruction to Johann Walther, who gives it in the two versions printed above, the second of which excludes the “Hallelujah!” A version of (1) appears in every movement of this Cantata. Bach uses the melody also in Cantata 158. Other harmonisations of the tune are in the Choralgesange, Nos. 38, 39. Organ Works, N. xv. 79; xviii. 16, 19. (a)
English translations of the Hymn are noted in the Dictionary of Hymnology, p. 225. Form. Choral Fantasia (Cornetto, 3 Trombones, Strings, Continuo). (b)
Form. Soprano and Alto Duetto, the former voice having a somewhat free treatment of the cantus (Cornetto, Trombone I, Continuo). (c)
Form. Tenor Unison Choral, having the cantus in Simple form (Violino I and II. Continuo). (d)
Form. Choral Fantasia in Motett form (Continuo). The cantus is with the Altos. (e)
Form. Bass Unison Choral; a free treatment of the cantus (Violino I and II, Viola I and II, Continuo). (f)
Form. Soprano and Tenor Duetto, treating the cantus somewhat freely in canon (Continuo). (g)
Form. Simple (Cornetto, 3 Trombones, Strings, Continuo). Choralgesange, No. 413 . [Back to Table of Contents]Cantata V.Wo soll ich fliehen hin. Nineteenth Sunday after Trinity (1735) Melody: “Venus du und dein Kind” Anon. 1574  Melody: “Auf meinen lieben Gott” Anon. 1609 A Choral Cantata, on Johann Heermann’s Lenten Hymn, “Wo soll ich fliehen hin,” first published in his Devoti Musica Cordis (Leipzig, 1630), to the melody, “Auf meinen lieben Gott.” The melody which Bach uses in the first and last movements was generally sung to Heermann’s Hymn, “Wo soll ich fliehen hin.” By prescriptive right it belongs to the Hymn, “Auf meinen lieben Gott,” which was published in 1607 (see Cantata No. 188) and received the melody two years later. Heermann’s Hymn was not published until 1630 (see supra), and received its own proper melody in 1679 (see Cantata 163). B.G. xxxiii. Pref. xxi, follows Spitta in attributing the melody, “Auf meinen lieben Gott,” to Johann Pachelbel (1653-1706). The tune, however, has a secular origin and is found in association with the song, “Venus du und dein Kind,” in 15741 . Bartholomäus Gesius used the tune for the Hymn, “Man spricht: Wen Gott erfreut,” in his Ein ander new Opus Geistlicher Deutscher Lieder (Frankfort a. Oder, 1605), and Melchior Vulpius associated it with the Hymn, “Auf meinen lieben Gott,” in his Ein schon geistlich Gesangbuch (Jena, 1609). The melody also occurs in Cantatas 89, 136, 148, and 188. Bach adopts a reconstruction of the melody published by Johann Hermann Schein in his Cantional, Oder Gesangbuch Augspurgischer Confession (Leipzig, 16272 ). Organ Works, N. xvi. 4; xix. 32. (a)The words of the opening movement are the first stanza of the Hymn:
An English translation of the Hymn is noted in the Dictionary of Hymnology, p. 506. Form. Choral Fantasia (Tromba da tirarsi, 2 Ob., Strings, Continuo2 ). (b)The words of the concluding Choral are the eleventh stanza of the Hymn:
Form. Simple (Tromba da tirarsi, 2 Ob., Strings, Continuo). Choralgesange, No. 28. The melody also appears in the Oboe part in the Alto Recitativo, “Mein treuer Heiland” (B.G. i. 142). [Back to Table of Contents]Cantata VI.Bleib’ bei uns, denn es will Abend werden1 . Easter Monday (1736) Melody: “Danket dem Herrn, heut’ und allzeit” Anon. 1594 (a)The Alto melody of the above four-part setting, which Bach uses in the third movement (“Choral”), is associated also with the Hymns, “Ach bleib’ bei uns, Herr Jesu Christ,” “Wir danken dir, O frommer Gott,” and “Hinunter ist der Sonnenschein.” The Alto melody was in use at Leipzig in 1589, and the above four-part setting is found in Seth Calvisius’ Hymni sacri Latini et germanici (Erfurt, 1594). No doubt it is by him. There are other harmonisations of the Alto melody in the Choralgesange, Nos. 1, 313. Organ Works, N. xvi. 10. The words of the movement are the first and second stanzas of Nicolaus Selnecker’s Hymn, “Ach bleib’ bei uns, Herr Jesu Christ.” The first stanza, which is a translation of Melanchthon’s “Vespera jam venit, nobiscum Christe maneto” (founded on St Luke xxiv. 29), first appeared as a broadsheet in 1579, with Nicolaus Herman’s “Danket dem Herrn.” The whole Hymn was first published in Selnecker’s Geistliche Psalmen (Nürnberg, 1611). Only stanzas iii-ix are by him. Selnecker was born at Hersbruck in 1532. He was a favourite pupil of Melanchthon at Wittenberg, was appointed Court Preacher at Dresden 1557, Professor of Theology at Jena 1565 and, later, at Leipzig. He was a very prominent figure in ecclesiastical Germany and died at Leipzig in 1592:
Translations of the Hymn are noted in the Dictionary of Hymnology, pp. 1040, 1599. Form. Soprano Unison Choral (Violoncello piccolo, Continuo)1 .  Melody: “Erhalt’ uns, Herr, bei deinem Wort” Anon. 1543 (b)The melody, “Erhalt’ uns, Herr, bei deinem Wort,” which Bach uses in the concluding Choral of the Cantata, was first published in Joseph Klug’s Geistliche Lieder zu Wittemberg (Wittenberg, 1543). It bears a close resemblance to the melody of Luther’s Hymn, “Verleih’ uns Frieden gnädiglich” (see Cantata 42), both being derived from the tune of the Antiphon, “Da pacem, Domine,” of which Luther’s “Verleih’ uns Frieden” is a translation. The similarity between the melodies is matched by the intimate association of the two Hymns. In many districts of Germany Luther’s stanza was sung immediately after the sermon, either by itself or with the Hymn, “Erhalt’ uns, Herr.” Bach uses the melody also in Cantata No. 126. The sharpened fourth note of the tune in this movement is found in an early text (1593). The words of the concluding Choral are the second stanza of Luther’s Hymn, “Erhalt’ uns, Herr, bei deinem Wort,” written, probably in 1541, for a service at Wittenberg against the Turks. Luther called the Hymn “Ein Kinderlied zu singen wider die zween Ertzfeinde Christi und seiner heiligen Kirchen, den Babst und Turcken.” The Hymn was first printed as a broadsheet at Wittenberg in 1542, and, with the tune, in Klug (see supra):
English translations of the Hymn are noted in the Dictionary of Hymnology, No. 353. Form. Simple (2 Ob., Oboe da caccia, Strings, Continuo). Choralgesange, No. 79. [Back to Table of Contents]Cantata VII.Christ unser Herr zum Jordan kam. Feast of St John Baptist (c. 1740) Melody: “Christ unser Herr zum Jordan kam” ? Johann Walther 1524 A Choral Cantata, on Luther’s Baptismal Hymn, “Christ unser Herr zum Jordan kam.” It was written, probably, in 1541 and published as a broadsheet in that year. The melody, “Christ unser Herr zum Jordan kam,” or properly, “Es woll’ uns Gott genadig sein,” which Bach uses in the first and last movements, was published first in Johann Walther’s Geystliche gesangk Buchleyn (Wittenberg, 1524), where it is set to Luther’s Hymn, “Es woll’ uns Gott.” It may be attributed with great probability to Walther himself. From 1543 (Joseph Klug) it was attached to “Christ unser Herr.” Bach uses the melody also in Cantata 176. There is another harmonisation of it in Choralgesange, No. 43. Organ Works, N. xvi. 62, 67. (a)The words of the opening movement are the first stanza of Luther’s Hymn:
English translations are noted in the Dictionary of Hymnology, p. 226. Form. Choral Fantasia (2 Ob. d’amore, Violino concertante, Strings, Continuo). The cantus is with the Tenor1 . (b)The words of the concluding Choral are the seventh stanza of Luther’s Hymn:
Form. Simple (2 Ob. d’amore, Strings, Continuo). Choralgesange, No. 44. [Back to Table of Contents]Cantata VIII.Liebster Gott, wann werd’ ich sterben3 ? Sixteenth Sunday after Trinity (c. 1725) Melody: “Liebster Gott, wann werd’ ich sterben?” Daniel Vetter 1713 
A Choral Cantata1 , on Caspar Neumann’s Hymn, “Liebster Gott, wann werd’ ich sterben?” published in the ninth edition of the Breslau Vollstandige Kirchen- und Haus-Music (Breslau, n.d. c. 1700). Neumann was a native of Breslau, where he was born in 1648. He became pastor of St Elizabeth’s Church there, and died in 1715. The melody of Neumann’s Hymn, which Bach uses in the first and last movements of the Cantata, was composed by Daniel Vetter, and was first published in the second Part (first Part 1709) of his Musicalische Kirch- und Hauss-Ergotzlichkeit (Leipzig, 1713). Vetter wrote the tune for Neumann’s Hymn at the suggestion of Jakob Wilisius, Cantor of St Bernhardin’s Church at Breslau, at whose funeral, at his express wish, the Hymn was sung in 1695. Vetter, a native of Breslau, succeeded his master Werner Fabricius as Organist of the Church of St Nicolas, Leipzig, in 1679. He died in 1721. Bach has not used the melody elsewhere. But another version of it (melody and figured Bass), from Georg Christian Schemelli’s Musicalisches Gesang-Buch (Leipzig, 1736), is in B.G. xxxix. “Arien und Lieder,” No. 47. (a)The words of the opening movement are the first stanza of Neumann’s Hymn:
Form. Choral Fantasia (Corno (con Soprano), Flauto, 2 Ob. d’amore, Strings, Continuo). (b)The words of the concluding Choral are the fifth stanza of Neumann’s Hymn:
Form. Simple (Corno, Flauto, 2 Ob. d’amore, Strings, Continuo). Choralgesänge, No. 227. [Back to Table of Contents]Cantata IX.Es ist das Heil uns kommen her. Sixth Sunday after Trinity (? 1731) Melody: “Es ist das Heil uns kommen her” Anon. 1524 A Choral Cantata1 , on Paul Speratus’ Hymn, “Es ist das Heil uns kommen her,” founded on Romans iii. 28. It was published in the Etlich Christlich lider Lobgesang, und Psalm (Wittenberg, 1524) and repeated in the Erfurt Enchiridion of the same year. Speratus (Hoffer or Offer) was born in Suabia in 1484. He was among the earliest and most able supporters of Luther and visited Wittenberg in 1523 to help him in the preparation of the first Lutheran Hymn book, the “Achtliederbuch” (supra), to which he contributed three hymns. He drafted the Prussian Book of Church Order (1526), became Bishop of Pomerania in 1529, and died in 1551. The melody of Speratus’ Hymn, which Bach uses in the opening and closing movements of the Cantata, was published, along with the Hymn, in the “Achtliederbuch” of 1524. The tune originally was sung to the Easter Hymn, “Freu’ dich du werthe Christenheit,” which was in use in 1478. Bach uses the melody in Cantatas 86, 117, 155, 186, and in the “Drei Chorale zu Trauungen” (Choralgesange, No. 89). Organ Works, N. xv. 109. There is traditional usage (1535 and 1586) for Bach’s version of lines 5 and 6, and also for the C sharp in line 2. (a)The words of the first movement are the first stanza of Speratus’ Hymn:
English translations of the Hymn are noted in the Dictionary of Hymnology, p. 1074. Form. Choral Fantasia (Flauto, Oboe d’amore, Strings, Continuo). (b)The words of the concluding Choral are the twelfth stanza of Speratus’ Hymn:
Form. Simple (Flauto, Oboe d’amore, Strings, Continuo). Choralgesange, No. 87. [Back to Table of Contents]Cantata X.Meine Seel’ erhebt den Herren3 . Feast of the Visitation of the B. V. M. (c. 1740)A Choral Cantata, on the Magnificat. The melody of the first and last movements of the Cantata is Tonus Peregrinus, immemorially associated with Psalm cxiv, “In exitu Israel.” Bach introduces the melody into the Terzetto “Suscepit Israel,” in the Latin “Magnificat” (No. 10). Two harmonisations of the melody are in the Choralgesange, Nos. 120, 121. Organ Works, N. xvi. 8; xviii. 75. (a)The words of the first movement are the first three clauses of the Magnificat:
Form. Choral Fantasia (Tromba, 2 Ob., Strings, Continuo). The cantus is first with the Sopranos and then with the Altos. (b)The words of the concluding Choral are the doxology to the Magnificat:
Form. Simple (Tromba, 2 Ob., Strings, Continuo). Choralgesange, No. 122. Bach uses the melody as an obbligato (2 Ob. and Tromba in unison) to the Alto-Tenor Duetto (fifth movement), “Er denket der Barmherzigkeit und hilft seinem Diener Israel auf” (B.G. i. 299)1 . [Back to Table of Contents]Cantata XI.Lobet Gott in seinen Reichen1 . Ascension Day (17352 ) Melody: “Ermuntre dich, mein schwacher Geist” Johann Schop 1641 (a)The sixth movement of the Cantata is a Choral upon Johann Schop’s melody, “Ermuntre dich, mein schwacher Geist,” first published in Part I of Johann Rist’s Himlischer Lieder mit...Melodeien (Luneburg, 1641). Bach uses the melody also in Cantata 43, and in the “Christmas Oratorio,” No. 12. There is another treatment of it (melody and figured Bass) in Schemelli’s Hymn book (1736), No. 187. Invariably Bach follows Johann Cruger’s remodelling of the tune in the 1648 edition of the Praxis Pietatis Melica (Berlin). The words of the Choral are the fourth stanza of Johann Rist’s Ascension Hymn, “Du Lebensfurst, Herr Jesu Christ,” first published in Part I of his Himlischer Lieder (see supra), to its own melody. It is set to Schop’s tune in Wagner (1697):
*Form. Simple (2 Fl., 2 Ob., Strings, Continuo). Choralgesange, No. 82.  Melody: “Von Gott will ich nicht lassen” Anon. 1572 [1571]  Melody. “Helft mir Gott’s Gute preisen” Wolfgang Figulus 1575 [1569]1 (b)The melody of the concluding movement is known as “Von Gott will ich nicht lassen,” from its association with Ludwig Helmbold’s Hymn, or “Helft mir Gott’s Güte preisen,” from its association with Paul Eber’s Hymn. Its source is the tune of a secular song, “Ich ging einmal spazieren,” which was extant in 1569. As a Hymn tune the melody was first published by Joachim Magdeburg in his Christliche und Trostliche Tischgesange (Erfurt, 1572 [1571]) and by Wolfgang Figulus (two melodies) in his Weynacht Liedlein (Frankfort a. Oder, 1575 [1569])2 . Bach uses the melody “Von Gott” with variations which have earlier sanction. It appears in Cantatas 73, 107. It also occurs in Cantata D 4, “Lobt ihn mit Herz und Munde,” attributed to Bach, and there are harmonisations of the tune in the Choralgesange, Nos. 324, 325, 326. Organ Works, N. xvii. 43. Figulus’ second melody (supra) belongs exclusively to Eber’s Hymn. It appears to originate as a Tenor melody of the first melody, to which its own Tenor bears a clear relation. In spite of its derivation, its individuality permits the tune to be regarded as a separate melody. It occurs in Cantatas 16, 28, 183. Organ Works, N. xv. 39. The words of the Choral are the seventh stanza of Gottfried Wilhelm Sacer’s Ascension Hymn, “Gott fahret auf gen Himmel,” published in his Geistliche, liebliche Lieder (Gotha, 1714), to the melody, “Von Gott will ich nicht lassen”:
English translations of the Hymn are noted in the Dictionary of Hymnology, p. 984. Form. Choral Fantasia (3 Trombe, Timpani, 2 Fl., 2 Ob., Strings, Continuo). [Back to Table of Contents]Cantata XII.Weinen, Klagen, Sorgen, Zagen1 . Third Sunday after Easter (“Jubilate”) (1724 or 1725) Melody: “Was Gott thut, das ist wohlgethan” Anon. 1690 The concluding Choral is set to the melody, “Was Gott thut, das ist wohlgethan,” published in the Nurnbergisches Gesang-Buch (Nürnberg, 1690), which contains eight melodies not found in the first (1676) edition of the book. Four of them (“Was Gott thut” being one) are anonymous. The authorship of the tune has been attributed to Severus Gastorius of Jena, for whom the Hymn was written. With greater probability it has been assigned to Johann Pachelbel, who was born in 1653 at Nürnberg, and held important positions as organist at Eisenach, Erfurt (1678-90), Stuttgart, Gotha and Nürnberg. He died in 1706. The tune certainly is associated with Pachelbel, who set it in Motett form during his residence at Erfurt, c. 1680. On the other hand, the first line of the melody is set to the Hymn, “Frisch auf, mein Geist, sei wohlgemuth,” in E. C. Homburg’s Geistlicher Lieder, Erster Theil, mit zweystimmigen Melodeyen geziehret von Wernero Fabricio (Naumburg, 1659 [1658]). Werner Fabricius, born in 1633, was Music Director at St Paul’s Church, and Organist of St Nicolas’ Church, Leipzig. He died in 1679. The tune is referred to in the 1693 (Frankfort) edition of the Praxis Pietatis Melica as “bekannte Melodie,” a statement which disposes of Gastorius’, and perhaps of Pachelbel’s, claim to it. Bach uses the melody also in Cantatas 69, 75, 98, 99, 100, 144, and in the “Drei Chorale zu Trauungen” (Choralgesänge, No. 339). The words of the Choral are the sixth stanza of Samuel Rodigast’s Hymn, “Was Gott thut, das ist wohlgethan,” founded on Deuteronomy xxxii. 4. Rodigast was born at Groben near Jena in 1649. He became Co-rector (1680) and Rector (1698) of the Greyfriars Gymnasium at Berlin. He died in 1708. The Hymn is said to have been written in 1675 at Jena for his sick friend, Severus Gastorius, Cantor there. It was published in Das Hannoverische ordentliche Vollständige Gesangbuch (Gottingen, 1676):
English translations of the Hymn are noted in the Dictionary of Hymnology, p. 972. Form. Embellished (“Oboe o Tromba,” Fagotto, Strings, Continuo). Choralgesänge, No. 340. [Back to Table of Contents]Cantata XIII.Meine Seufzer, meine Thranen. Second Sunday after the Epiphany (c. 1736) Melody: “Ainsi qu’on oit le cerf bruire” Louis Bourgeois 1542 
(a)The melody of the third movement is known as “Freu’ dich sehr, O meine Seele,” from its association with that Hymn. The latter, however, has its proper melody, first published, with the Hymn, in Christopher Demantius’ Threnodiae, Das ist: Ausserlesene Trostreiche Begrabnüss Gesange (Freiberg, 1620), and probably composed, or adapted, by Demantius himself. Its opening three notes and its seventh line are identical with the opening line of the melody supra. The latter tune was first published in Bourgeois’ Psalms (1542) and Jean Crespin’s Pseaumes octante trois de David (Geneva, 1551), set to Beza’s version of Psalm xlii. An extract from the Geneva Council archives of July 28, 1552, establishes Louis Bourgeois as the composer of “Ainsi qu’on oit” (“Wie nach einem Wasserquelle”), and the other tunes to Beza’s Psalms in the Psalter. In the second edition of Schein’s Cantional (1645) the tune is set to the anonymous Hymn, “Freu’ dich sehr.” Bourgeois, born in Paris early in the 16th century, was invited to Geneva in 1541. In 1545 he succeeded Guillaume Franc (d. 1570) as Master of the children and music school there, on Franc’s transference to Lausanne Cathedral. In December 1551 Bourgeois was imprisoned for having altered “without leave” the tunes of some of the Psalms, presumably those of the Psalter of 1551. He was released on Calvin’s intervention, returned to Paris in 1557, and was living in 1561. Bach uses the melody also in Cantatas 19, 25, 30, 32, 39, 70, and 194. There appears not to be an earlier example of Bach’s treatment of the last phrase of the tune. The words of the movement are the second stanza of Johann Heermann’s “Zion klagt mit Angst und Schmerzen,” first published in his Devoti Musica Cordis (second edition, Leipzig, 1636), to Bourgeois’ tune (supra):
English translations of the Hymn are noted in the Dictionary of Hymnology, p. 505. Form. Alto Unison Choral (Flauti, Oboe da caccia, Strings, Continuo).  Melody: “O Welt, ich muss dich lassen” Heinrich Isaak 1539 (b)The melody of the concluding Choral is Heinrich Isaak’s “O Welt, ich muss dich lassen,” first published in Georg Forster’s Ein ausszug guter alter ūn newer Teutscher liedlein (Nürnberg, 1539), to the secular song “Innspruck, ich muss dich lassen.” It was first associated with Johann Hesse’s Hymn, “O Welt, ich muss dich lassen,” in 15981 . Bach uses the melody in the “St Matthew Passion,” Nos. 16 and 44; in the “St John Passion,” No. 8; and in Cantatas 44 and 97. There are four other harmonisations of the melody in Choralgesänge, Nos. 289-291, 298. By 1598 the tune virtually had assumed the form familiar to Bach’s generation. Line 3, however, only began to take modern shape in Schein’s Cantional of 1627. The words of the movement are the fifteenth stanza of Paul Flemming’s Hymn, “In allen meinen Thaten,” first published in his Teutsche Poemata (Lübeck, 1642), and set to Isaak’s tune (supra) in a recension dated 1670. Flemming was born at Hartenstein in 1609, was laureated as a poet at Leipzig University in 1631, and betook himself to Holstein two years later in order to escape the miseries of the Thirty Years’ War. Thence he was sent on an embassy to Russia (1633) and Persia (1635). The Hymn was written in 1633, on the eve of his departure for Russia. In 1640 Flemming graduated M.D. at Leyden and died there in the same year:
English translations of the Hymn are noted in the Dictionary of Hymnology, p. 378. Form. Simple (Flauti, Oboe, Strings, Continuo). Choralgesange, No. 295. [Back to Table of Contents]Cantata XIV.War’ Gott nicht mit uns diese Zeit. Fourth Sunday after the Epiphany (1735) Melody: “War’ Gott nicht mit uns diese Zeit” ? Johann Walther 1524 A Choral Cantata, on Luther’s Hymn, “War’ Gott nicht mit uns diese Zeit,” a version of Psalm cxxiv, first published in the Geystliche gesangk Buchleyn (Wittenberg, 1524), with the melody. The melody may be attributed to Johann Walther, Luther’s collaborator, or alternatively, to Luther himself. Bach has not used the melody elsewhere. (a)The words of the opening movement are the first stanza of Luther’s Hymn:
Translations of the Hymn are noted in the Dictionary of Hymnology, p. 1232. Form. Choral Fantasia, in the Organ Choral form, the vocal themes being used in Counterpoint against the Choral melody in the orchestra (Corno da caccia, 2 Ob., Strings, Continuo)2 . (b)The words of the concluding Choral are the third stanza of Luther’s Hymn:
Form. Simple (2 Ob., Corno da caccia, Strings, Continuo). Choralgesange, No. 330. [Back to Table of Contents]Cantata XV.Denn du wirst meine Seele nicht in der Hölle lassen. Easter Day (1704) Melody: “Wenn mein Stundlein vorhanden ist” Nicolaus Herman 1569 The melody of the Choral sung in the last thirty bars of the concluding movement is Nicolaus Herman’s “Wenn mein Stündlein vorhanden ist,” first published, with the Hymn, in Johann Wolff’s Kirche Gesang, Aus dem Wittenbergischen, und allen andern den besten Gesangbuchern (Frankfort a. Main, 1569). Herman was born circ. 1485. In 1524 he was acting as Master in the Latin School and Cantor of the church at Joachimsthal in Bohemia. He died there in 1561. He was a great lover of music, a good organist, and is credited with the authorship of the tunes set to his Hymns. Bach uses the melody also in Cantatas 31 and 95. There are other harmonisations of the tune in the Choralgesange, Nos. 353, 354, 355. The concluding line of Bach’s text is a variation of the original melody as old as 1584 (M. Eucharius Zinckeisen’s Kirchen Gesäng, Frankfort a. Main, 1584). His other variations also are found in earlier texts. The words of the Choral are the fourth stanza of Nicolaus Herman’s Hymn for the Dying, “Wenn mein Stündlein vorhanden ist,” first published in his Die Historien von der Sindfludt” (Wittenberg, 1562 [1560]):
English translations of the Hymn are noted in the Dictionary of Hymnology, p. 1254. Form. Extended (3 Clarini, Timpani, Strings, Continuo). [Back to Table of Contents]Cantata XVI.Herr Gott dich loben wir. Feast of the Circumcision (New Year’s Day) (? 1724) Melody: “Herr Gott dich loben wir” Anon. 1535 (a)In the opening movement Bach employs the melody, “Herr Gott dich loben wir,” a simplified form of the plainsong melody of the Ambrosian “Te Deum laudamus.” It was published in Joseph Klug’s Geistliche Lieder (Wittenberg, 1535), with Luther’s version of the “Te Deum,” and no doubt had appeared in association with the latter in the first (1529) edition of that book. Only the first four lines of the melody are printed above. See the Choralgesange, No. 133, and Organ Works, N. xviii. 44, for the complete setting. Bach uses the melody also in Cantatas 119, 120, 190. The words of the opening movement are the first two clauses of Luther’s free version of the “Te Deum,” first published in Joseph Klug’s Geistliche Lieder (Wittenberg, 1535 [1529]):
English translations of Luther’s version are noted in the Dictionary of Hymnology, p. 1134. Form. Choral Fantasia (2 Ob., Corno da caccia, Strings, Continuo). (b)For the melody of the concluding Choral, “Helft mir Gott’s Güte preisen” (second version), see Cantata 11. The words of the movement are the sixth stanza of Paul Eber’s Hymn for the New Year, “Helft mir Gott’s Gute preisen,” first published in Eichorn’s Geistliche Lieder (Frankfort a. Oder, c. 1580). Eber was born at Kitzingen, Bavaria, in 1511. He entered the University of Wittenberg in 1532, and eventually held the Chairs of Latin and Hebrew there. He was a friend of Melanchthon and, next to Luther, is the best poet of the Wittenberg School. He died in 1569. The Hymn is an acrostic upon the name “Helena,” borne by his wife and daughter, spelt by the initial letters of the six stanzas:
An English translation is noted in the Dictionary of Hymnology, p. 319. Form. Simple (2 Ob., Corno da caccia, Strings, Continuo). Choralgesange, No. 125. [Back to Table of Contents]Cantata XVII.Wer Dank opfert, der preiset mich. Fourteenth Sunday after Trinity (c. 1737) Melody. “Nun lob’, mein’ Seel’, den Herren” ? Johann Kugelmann 1540 
The melody of the concluding Choral, “Nun lob’, mein’ Seel’, den Herren,” was first published, with the Hymn, in Johann Kugelmann’s News Gesanng, mit Dreyen stymmen (Augsburg, 1540), a Hymn book compiled for the use of the Lutheran Church in Prussia and one of the earliest of its kind after Walther’s (1524). It contained thirty-nine hymns, for the majority of which (thirty) Kugelmann composed the tunes. Kugelmann is said to have been born at Augsburg. In 1519 he was in the service of the Emperor Maximilian I at Innspruck as Court Trumpeter. Later he passed into the service of Duke Albert of Prussia in a similar capacity, and eventually became Ducal Capellmeister at Konigsberg. He died in 1542. Bach uses the melody also in Cantatas 28, 29, 51, 167, in Motett 1, “Singet dem Herrn ein neues Lied,” and in the so-called Motett, “Sei Lob und Preis mit Ehren.” Other harmonisations of the tune are in the Choralgesange, Nos. 269, 270. The variations of the original melody which appear in Bach’s versions are found in texts within sixty years of the publication of the tune in 1540. The words of the Choral are the third stanza of Johann Graumann’s (Poliander) “Nun lob’, mein’ Seel’, den Herren,” a version of Psalm ciii, first published as a broadsheet at Nürnberg c. 1540, and, with the tune, in Kugelmann’s News Gesanng (1540). Graumann was born at Neustadt in the Bavarian Palatinate in 1487. In 1520 he became Rector of the Thomasschule, Leipzig. On Luther’s recommendation he was invited to aid the Reformation movement in Prussia, and in 1525 became pastor of the Altstadt Church at Konigsberg. He died there in 1541. The Hymn is said to have been written in 1525 at the request of Albert of Hohenzollern, High Master of the Teutonic Order and first Duke of Prussia (d. 1568):
Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 451. Form. Simple (2 Ob., Strings, Continuo). Choralgesange, No. 271. [Back to Table of Contents]Cantata XVIII.Gleich wie der Regen und Schnee vom Himmel fallt. Sexagesima Sunday (1713 or 1714) Melody: “Durch Adams Fall ist ganz verderbt” Anon. 1535 The melody of the concluding Choral, “Durch Adams Fall ist ganz verderbt,” first appeared in Joseph Klug’s Geistliche Lieder (Wittenberg, 1535 [1529]), with the Hymn. It is said to be the melody of the song, “Was wöll wir aber heben an,” sung at the Battle of Pavia in 1525. Bach uses the melody also in Cantata 109. Organ Works, N. xv. 107; xviii. 28. The words of the Choral are the eighth stanza of Lazarus Spengler’s “Durch Adams Fall ist ganz verderbt,” first published in Johann Walther’s Geystliche gesangk Buchleyn (Wittenberg, 1524), with two melodies, probably by Walther himself. Lazarus Spengler was born at Nürnberg in 1479. He made Luther’s acquaintance when the Reformer visited the city in 1518 on his way to Augsburg, and became a leader of the Reformation in Nürnberg, where he was successively Raths Syndikus and Rathsherr. He died in 1534:
English translations of the Hymn are noted in the Dictionary of Hymnology, p. 1072. Form. Simple (2 Fl., Fagotto, 4 Violas, Continuo). Choralgesänge, No. 73. Bach introduces the melody into the accompaniment of the Bass Recitativo, “Gleich wie der Regen,” and the following Chorus, “Mein Gott, hier wird” (B.G. ii. 237). Four clauses of the Litany are inserted into the second movement (B.G. ii. 238). [Back to Table of Contents]Cantata XIX.Es erhub sich ein Streit. Feast of St Michael the Archangel (1726)For the melody of the concluding Choral, “Ainsi qu’on oit le cerf,” see Cantata 13. The words of the concluding Choral are the ninth stanza of the anonymous funerary Hymn, “Freu’ dich sehr, O meine Seele,” first published in Christopher Demantius’ Threnodiae (Freiberg, 1620), and set to Bourgeois’ melody in the second (1645) edition of Schein’s Cantional:
Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 395. Form. Embellished (3 Trombe, Timpani, 2 Ob., Taille3 , Strings, Continuo). Choralgesange, No. 99. Bach introduces the melody “Herzlich lieb hab’ ich dich, O Herr” into the fifth movement, the Tenor Aria “Bleibt ihr Engel,” as a Tromba obbligato (B.G. ii. 279). He had in mind the third stanza of the Hymn. See the Michaelmas Cantata No. 149 for melody and stanza. [Back to Table of Contents]Cantata XX.O Ewigkeit, du Donnerwort. First Sunday after Trinity (c. 1725) Melody: “Wach auf, mein Geist” Johann Schop 1642  Melody: “O Ewigkeit, du Donnerwort” Johann Cruger’s reconstruction 1653 A Choral Cantata1 , on Johann Rist’s Hymn, “O Ewigkeit, du Donnerwort,” first published in the fourth Part of his Himlischer Lieder (Luneburg, 1642). The melody which Bach uses in the opening Chorus, and in the concluding Chorals of Parts I and II, was composed by Johann Schop for Johann Rist’s “Wach auf, mein Geist, erhebe dich,” and was published, with that Hymn, in Part III (1642) of the Himlischer Lieder. Schop also wrote a melody for “O Ewigkeit, du Donnerwort,” for Part IV of Rist’s collection. Johann Crüger’s reconstruction of “Wach auf,” which Bach follows almost exactly, was published, with the Hymn “O Ewigkeit, du Donnerwort,” in his Praxis Pietatis Melica (Berlin, 1653), and also in Christoph Runge’s D. M. Luthers Und anderer vornehmen geistreichen und gelehrten Manner Geistliche Lieder und Psalmen (Berlin, 1653). Bach uses the melody in Cantata 60. Other harmonisations of it are in Anna Magdalena Bach’s Notenbuchlein, and Choralgesange, No. 275. (a)The words of the opening movement are the first stanza of Rist’s Hymn:
English translations of the Hymn are noted in the Dictionary of Hymnology, p. 828. Form. Choral Fantasia (3 Ob., Tromba da tirarsi, Strings, Continuo). (b)The words of the concluding Choral of Part I are the eleventh stanza of Rist’s Hymn:
Form. Simple (Tromba da tirarsi, 3 Ob., Strings, Continuo). Choralgesänge, No. 276. (c)The words of the concluding Choral of Part II are the sixteenth stanza of Rist’s Hymn:
Form. Simple (Tromba da tirarsi, 3 Ob., Strings, Continuo). Choralgesänge, No. 276. [Back to Table of Contents]Cantata XXI.Ich hatte viel Bekümmerniss1 . For General Use2 (1714) Melody: “Wer nur den lieben Gott lasst walten” Georg Neumark 1657 In the ninth movement, the Chorus “Sei nun wieder zufrieden,” Bach makes use of the words and melody of Georg Neumark’s Hymn, “Wer nur den lieben Gott lässt walten,” published together in his Fortgepflantzter Musikalisch-Poetischer Lustwald (Jena, 1657). Georg Neumark was born at Langensalza in Thuringia in 1621. In 1652 (?) the Grand Duke of Saxe-Weimar appointed him Court Poet, Librarian and Registrar of the administration at Weimar. Of the “Fruit-bearing Society,” the chief German literary union in the 17th century, he became Secretary in 1656. He died in 1681. The melody was composed by Neumark for the Hymn. Bach uses the melody also in Cantatas 27, 84, 88, 93, 166, 179, and 197. There is another harmonisation of the tune in the Choralgesänge, No. 367. Mendelssohn uses it for the Choral, “To Thee, O Lord, I yield my spirit,” in “St Paul,” No. 9. Bach’s version of the last line of the tune is invariable and is not noted by Zahn as having earlier authority. Organ Works, N. xv. 117; xvi. 6; xix. 21, 22. The words of the Choral are the second and fifth stanzas of Neumark’s Hymn, which was written at Kiel in 1641:
Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 796. Form. Choral Motett (Oboe, Fagotto, 4 Trombones, Strings, Organ, Continuo). The cantus is with the Tenor. [Back to Table of Contents]Cantata XXII.Jesus nahm zu sich die Zwölfe. Quinquagesima (“Esto Mihi”) Sunday (1723) Melody: “Herr Christ, der einig’ Gott’s Sohn” Anon. 1524  Melody: “Ich hort ein Fraulein klagen” Anon. 1549 In the concluding Choral Bach uses the words and melody of the Christmas Hymn, “Herr Christ, der einig’ Gott’s Sohn,” published together in the Erfurt Enchiridion Oder eyn Handbuchlein (1524) and in Johann Walther’s Geystliche gesangk Buchleyn (Wittenberg, 1524). The tune bears a close relation to that of the secular song “Ich hört ein Fräulein klagen,” published in 1549. Presumably the secular tune is the earlier, and Walther’s influence upon the 1524 version may be assumed. Bach uses the melody also in Cantatas 96, 132, 164. Organ Works, N. xv. 9; xviii. 43. The words of the Choral are the fifth stanza of Elisabethe Cruciger’s Christmas Hymn, “Herr Christ, der einig’ Gott’s Sohn,” first published, with the tune, in the Enchiridion and Buchleyn of 1524. The authoress was the daughter of a Polish refugee residing at Wittenberg, where she married Caspar Cruciger, a student at the University, in 1524. Cruciger, who was regarded by Luther with great affection and was treated as a son, became one of the Professors of Theology in the University. His wife, a great lover of music, died at Wittenberg in 1535. This is the only Hymn of hers extant or known:
Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 271. Form. Extended (Oboe, Strings, Continuo). Erk, No. 48. [Back to Table of Contents]Cantata XXIII.Du wahrer Gott und Davids Sohn1 . Quinquagesima (“Esto Mihi”) Sunday (1724)2 Melody: “Christe, du Lamm Gottes” Anon. 1557 In the concluding Choral Bach uses the melody and words of the Antiphon, “Christe, du Lamm Gottes.” Words and melody appear together in the Pfalz-Neuburg Kirchenordnung (Nürnberg, 1557), and obviously have a pre-Reformation association. The movement originally was the concluding number of the “St John Passion.” Bach introduces the melody into the opening movement of Cantata 127. He has not used it elsewhere in the Cantatas, Oratorios, or Motetts. He made an arrangement of it, however (B.G. xli. 187), in five vocal parts (2 S’s.A.T.B.) with Continuo accompaniment, for the “Kyrie Eleison.” Organ Works, N. xv. 61. The words of the Choral are a prose translation of the “Agnus Dei,” and are found in Low German in the Brunswick Kirchenordnung of 1528, and in High German in the Saxon Kirchenordnung of 1540:
Translations of the Antiphon are noted in the Dictionary of Hymnology, p. 31. Form. Choral Fantasia (Cornetto, 3 Trombones, 2 Ob., Strings, Continuo). Neither the Choralgesange nor Erk prints the melody. Bach introduces the melody into the accompaniment of the Tenor Recitativo, “Ach, gehe nicht vorüber,” where the Violins and Oboes have it (B.G. v. (i) 104). He employs it in the same manner (Oboes and Horns) in the accompaniment of the “Kyrie” of the Mass in F major (B.G. viii. 3). [Back to Table of Contents]Cantata XXIV.Ein ungefarbt Gemuthe. Fourth Sunday after Trinity (1723) Melody: “O Gott, du frommer Gott” Anon. 1693 In the concluding Choral Bach uses the melody, “O Gott, du frommer Gott,” published, in association with Johann Heermann’s Hymn, in the Neuvermehrtes und zu Ubung Christl. Gottseligkeit eingerichtetes Meiningisches Gesangbuch (Meiningen, 1693). It is among the anonymous melodies in that collection. But the lines which compose it are found among the tunes (the majority of them by Hieronymus Kradenthaller, a Regensburg organist) in Lust- und Artzneigarten des Koniglichen Propheten Davids (Regensburg, 1675), and may be regarded as a reminiscence of them. The Hymn has other melodies, one of which Bach uses more frequently (see Cantata 45). The above melody is also in Cantatas 71 and 164. There is a four-part setting of it in the Choralgesange, No. 282. Bach’s version shows important modifications of the sixth and last lines. Practically identical variations are found in Christian Friedrich Witt’s Psalmodia sacra (Gotha, 1715). The set of Variations, or Partite, in N. xix. 44, upon the melody, “O Gott, du frommer Gott,” treat another and earlier (1646) tune, originally known as “Gross ist, O grosser Gott.” The words of the Choral are the first stanza of Johann Heermann’s “O Gott, du frommer Gott,” first published in his Devoti Musica Cordis (Leipzig, 1630):
English translations of the Hymn are noted in the Dictionary of Hymnology, p. 833. Form. Extended (Clarino, 2 Ob., Strings, Continuo). [Back to Table of Contents]Cantata XXV.Es ist nichts Gesundes an meinem Leibe1 . Fourteenth Sunday after Trinity (c. 1731)For the melody of the concluding Choral, “Ainsi qu’on oit le cerf,” see Cantata 13. The words of the concluding Choral are the twelfth stanza of Johann Heermann’s “Treuer Gott, ich muss dir klagen,” first published in his Devoti Musica Cordis (Leipzig, 1630), to the above melody:
English translations of the Hymn are noted in the Dictionary of Hymnology, p. 505. Form. Simple (Cornetto, 3 Trombones, 3 Fl., 2 Ob., Strings, Continuo). Choralgesänge, No. 101. In the opening Chorus of the Cantata (B.G. v. (i) 158) Bach introduces the melody of the penitential hymn, “Ach Herr, mich armen Sünder.” The tune is more familiar as “Herzlich thut mich verlangen” (see Cantata 135)2 . [Back to Table of Contents]Cantata XXVI.Ach wie Flüchtig. Twenty-fourth Sunday after Trinity (c. 1740) Melody: “Ach wie fluchtig” Michael Franck 1652  Melody: “Ach wie fluchtig” Johann Cruger’s (?) reconstruction 1661 A Choral Cantata, on Michael Franck’s funerary Hymn, “Ach wie flüchtig,” first published, with the melody, in Franck’s Die Eitelheit, Falschheit und Unbeständigkeit der Welt” (Coburg, 1652). Franck was born at Schleusingen in 1609 and in 1628 became a master baker there. In 1640 poverty drove him to Coburg, where he taught in the town school. In 1659 Johann Rist crowned him as a poet and received him into his Order of Elbe Swans. He died in 1667. The melody, which Bach uses in the opening and concluding movements of the Cantata, was composed by Franck and published, in four-part harmony, with the Hymn, in 1652. The Hymn was republished in the 1661 (Berlin) edition of Crüger’s Praxis Pietatis Melica and in the Brunswick Neuvermehrtes vollständiges Gesangbuch (Brunswick, 1661), with a reconstruction of Franck’s melody which may be attributed to Johann Crüger. The melody does not occur elsewhere in the Cantatas. Organ Works, N. xv. 121. (a)The words of the opening movement are the first stanza of Franck’s Hymn:
Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 387. Form. Choral Fantasia (Flauto, 3 Ob., Corno, Strings, Organ, Continuo)1 . (b)The words of the concluding Choral are the thirteenth stanza of Franck’s Hymn:
Form. Simple (Flauto, 3 Ob., Corno, Strings, Organ, Continuo). Choralgesange, No. 11. [Back to Table of Contents]Cantata XXVII.Wer weiss, wie nahe mir mein Ende2 . Sixteenth Sunday after Trinity (1731)(a)For the melody of the opening Chorus, “Wer nur den lieben Gott lässt walten,” see Cantata 21. The Choral words of the opening Chorus are the first stanza of the funerary Hymn, “Wer weiss, wie nahe mir mein Ende,” written by Emilie Juliane Countess of Schwarzburg-Rudolstadt. The authoress was born in 1637, married her cousin, the Count of Schwarzburg-Rudolstadt, and died in 1706. About 600 hymns are attributed to her. The Hymn “Wer weiss” was published, to the above melody, in the Rudolstadt Hymn book of 1682 (Appendix, 1688) and in M. Joh. Heinrich Haveckers . . . Kirchen-Echo (Leipzig, 1695). Its authorship is also claimed by Georg Michael Pfefferkorn (1645-1732):
Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 330. Form. Choral Fantasia. The Chorus (S.A.T.B.) is intersected by Recitativo passages accompanying the orchestral ritornelli (2 Ob., Corno, Strings, Continuo)1 .  Melody. “Welt, ade! ich bin dein mude” Johann Rosenmuller 1682  pian. adagio  forte allegro (b)The melody of the concluding Choral was composed by Johann Rosenmuller for the Hymn, “Welt, ade! ich bin dein müde” (1649). Rosenmüller was born at Pelsnitz in Saxony in 1619. In 1642 he was assistant master in St Thomas’ School, Leipzig, and a pupil of Tobias Michael, Cantor there. In 1651 he was appointed Organist of St Nicolas’ Church, Leipzig. Imprisoned in 1655 for a grave offence, he lived thereafter in Hamburg and Italy. In 1674 he was appointed Kapellmeister at Wolfenbüttel, and died there in 1684. The five-part setting of the melody which Bach uses here was published by Gottfried Vopelius in his Neu Leipziger Gesangbuch (Leipzig, 1682 [1681]1 ). Vopelius was born in 1645, at Herwigsdorf, near Lobau, became Cantor of St Nicolas’, Leipzig, in 1675, and died in 1715. Bach uses the melody also in Cantata 158. The words of the concluding Choral are the first stanza of Johann Georg Albinus’ funerary Hymn, “Welt, ade! ich bin dein müde.” The Hymn was written in 1649 for the funeral of the daughter of Abraham Teller, Archidiaconus of St Nicolas’. Albinus was born at Unter-Nessa, Saxony, in 1624. He was educated at Leipzig and in 1653 was appointed Rector of the Cathedral School, Naumburg. In 1657 he became pastor of St Othmar’s Church there. He died in 1679. The Hymn was published first as a broadsheet in 1649 and later in the Brandenburg Neu-Vollstandigers Gesang-Buch (Bayreuth, 1668) and Geistliches Neuvermehrtes Gesang-Buch (Schleusingen, 1672):
Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 37. Form. Simple (2 Ob., Corno, Strings, Continuo). Choralgesänge, No. 350. Erk, No. 134, prints Vopelius’ 1682 version1 . [Back to Table of Contents]Cantata XXVIII.Gottlob! nun geht das Jahr zu Ende1 . Sunday after Christmas (c. 17252 )(a)The melody of the second movement is Johann Kugelmann’s (?) “Nun lob’, mein’ Seel’, den Herren” (see Cantata 17). The words of the movement are the first stanza of Johann Graumann’s Hymn, “Nun lob’, mein’ Seel’, den Herren” (see Cantata 17):
Form. Choral Motett (Cornetto, 3 Trombones, 2 Ob., Strings, Continuo). Erk, No. 3194 . (b)For the melody of the concluding Choral, “Helft mir Gott’s Güte preisen,” see Cantata 11. The words of the concluding Choral are the sixth stanza of Paul Eber’s New Year’s Hymn, “Helft mir Gott’s Güte preisen” (see Cantata 16):
Form. Simple (Cornetto, 3 Trombones, 2 Ob., Taille3 , Strings, Continuo). Choralgesänge, No. 124. [Back to Table of Contents]Cantata XXIX.Wir danken dir, Gott, wir danken dir. For the Inauguration of the Town Council, Leipzig (1731)For the melody of the concluding Choral, Johann Kugelmann’s (?) “Nun lob’, mein’ Seel’, den Herren,” see Cantata 17. The words of the concluding Choral are the fifth stanza of Johann Graumann’s Hymn, “Nun lob’, mein’ Seel’, den Herren” (see Cantata 17). The stanza is an addendum to the four published in 1540 and appeared posthumously in a broadsheet reprint of the Hymn at Nürnberg c. 1555:
Form. Embellished (3 Trombe, Timpani, 2 Ob., Strings, Organ, Continuo). Choralgesange, No. 272. [Back to Table of Contents]Cantata XXX.Freue dich, erloste Schaar1 . Feast of St John Baptist (17382 )For the melody of the concluding Choral of Part I, Louis Bourgeois’ “Ainsi qu’on oit le cerf,” see Cantata 13. The words of the concluding Choral of Part I are the third stanza of Johannes Olearius’ Hymn for St John Baptist’s Day, “Trostet, trostet, meine Lieben,” first published in his Geistliche Singe-Kunst (Leipzig, 1671), to Bourgeois’ melody (supra). Olearius was born at Halle in 1611. In 1643 he was appointed Court Preacher and Private Chaplain there to Duke August of Saxe-Weissenfels. After 1680 he held appointments as Kirchenrath and General Superintendent at Weissenfels. He died in 1684. His Geistliche Singe-Kunst of 1671 was one of the largest and best German Hymn books of the seventeenth century, and contained 302 hymns by Olearius himself:
English translations of the Hymn are noted in the Dictionary of Hymnology, p. 866. Form. Simple (2 Fl., 2 Ob., Strings, Organ, Continuo). Choralgesänge, No. 103. [Back to Table of Contents]Cantata XXXI.Der Himmel lacht, die Erde jubiliret. Easter Day (17151 )For the words and melody of the concluding Choral, Nicolaus Herman’s Hymn, “Wenn mein Stündlein vorhanden ist,” see Cantata 15. The words are the fifth stanza of the Hymn, which was posthumously added to its original four stanzas in Drei schone geistliche Lieder (Coln, 1574)2 . It is not by Herman:
Form. Embellished (Tromba, 3 Ob., Taille8 , Fagotto, Strings, Continuo). Choralgesänge, No. 357. Bach introduces the melody into the Soprano Aria, “Letzte Stunde, brich herein,” as an obbligato for the Violins and Viola (B.G. vii. 44). [Back to Table of Contents]Cantata XXXII.Liebster Jesu, mein Verlangen1 . First Sunday after the Epiphany (c. 1740)For the melody of the concluding Choral, Louis Bourgeois’ “Ainsi qu’on oit,” see Cantata 13. The words of the concluding Choral are the twelfth stanza of Paul Gerhardt’s Lenten Hymn, “Weg, mein Herz, mit den Gedanken,” first published in Johann Crüger’s Praxis Pietatis Melica (Berlin, 1647), to another melody (“Zion klagt mit Angst und Schmerzen”):
Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 412. Form. Simple (Oboe, Strings, Continuo). Choralgesange, No. 102. [Back to Table of Contents]Cantata XXXIII.Allein zu dir, Herr Jesu Christ. Thirteenth Sunday after Trinity (c. 1740) Melody: “Allein zu dir, Herr Jesu Christ” Anon. c. 1541  Melody: “Allein zu dir, Herr Jesu Christ” Anon. 1545* A Choral Cantata, on Johannes Schneesing’s penitential Hymn, “Allein zu dir, Herr Jesu Christ,” which was published as a Nürnberg broadsheet c. 1541 and was included by Luther in Valentin Babst’s Geystliche Lieder (Leipzig, 1545), with the second version of the melody printed above. Schneesing, a native of Frankfort a Main, was pastor of Friemar, near Gotha, where he died in 1567. He is said to have been much interested in teaching children the hymns and tunes which he composed. The melody of Schneesing’s Hymn, which Bach uses in the opening and closing movements of the Cantata in its 1545 form, was first published, with the Hymn, in an undated broadsheet, probably at Wittenberg, c. 1541, and thence in Valentin Babst’s Hymn book (supra). The tune has been attributed to Schneesing. Bach has not used the melody elsewhere in the Cantatas, Oratorios, or Motetts. There is another harmonisation of it in the Choralgesänge, No. 15. (a)The words of the opening movement are the first stanza of Schneesing’s Hymn:
English translations of the Hymn are noted in the Dictionary of Hymnology, p. 1015. Form. Choral Fantasia (2 Ob., Strings, Organ, Continuo). (b)The words of the concluding Choral are the fourth stanza of Schneesing’s Hymn:
Form. Simple (2 Ob., Strings, Organ, Continuo). Choralgesänge, No. 16. [Back to Table of Contents]Cantata XXXVI.Schwingt freudig euch empor. First Sunday in Advent (c. 17301 ) Melody: “Nun komm, der Heiden Heiland” Anon. 1524  Melody: “Veni Redemptor gentium” Anon. 15312 (a)For the second movement of Part I of the Cantata Bach uses the words and melody of Luther’s Christmas Hymn, “Nun komm, der Heiden Heiland.” The Hymn, a translation of “Veni Redemptor gentium,” attributed to St Ambrose, was first published in the Erfurt Enchiridion (1524), with the melody, a simplification of that of “Veni Redemptor gentium.” Both Hymn and melody are also in Walther’s Geystliche gesangk Buchleyn (1524), and his assistance in reconstructing the tune may be inferred. Bach uses the melody elsewhere in Cantatas 61 and 62. Organ Works, N. xv. 3; xvii. 46, 49, 52; xviii. 83. The words of the second movement of Part I are the first stanza of Luther’s Hymn:
Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 1212. Form. Duetto for Soprano and Alto (2 Ob. d’amore, Organ, Continuo), treating the melody in canon freely. (b)The words and melody of the concluding Choral of Part I are Philipp Nicolai’s “Wie schon leuchtet der Morgenstern” (see Cantata 1). The words are the sixth stanza of the Hymn:
Form. Simple (2 Ob. d’amore, Strings, Organ, Continuo). Choralgesänge, No. 377. (c)The words and melody of the second movement of Part II of the Cantata are Luther’s “Nun komm, der Heiden Heiland” (see a supra). The words are the sixth stanza of the Hymn:
Form. Tenor Unison Choral (2 Ob. d’amore, Organ, Continuo). (d)The words and melody of the concluding Choral are Luther’s “Nun komm, der Heiden Heiland” (see a supra). The words are the eighth stanza of the Hymn:
Form. Simple (2 Ob. d’amore, Strings, Organ, Continuo). Choralgesange, No. 264. [Back to Table of Contents]Cantata XXXVII.Wer da glaubet und getauft wird. Ascension Day (c. 1727)(a)The melody and Hymn of the third movement are Philipp Nicolai’s “Wie schön leuchtet der Morgenstern” (see Cantata 1). The words are the fifth stanza of the Hymn:
Form. Soprano and Alto Duetto (Continuo) in canon on the melody.  Melody: “Lob’ Gott getrost mit Singen” Anon. 1544  Melody: “Ich dank’ dir, lieber Herre” Reconstruction 1662 (b)The words and melody of the concluding Choral are Johann Kolross’ (Rhodanthracius) Morning Hymn, “Ich dank’ dir, lieber Herre,” first published as a broadsheet at Nürnberg, c. 1535, and included in Valentin S. Schumann’s Geistliche lieder auffs new gebessert und gemehrt (Leipzig, 1539). The author is said to have been a pastor at Basel and to have died there in 1558. The melody “Ich dank’ dir, lieber Herre” has a secular origin. It was associated in 1532 with the song, “Entlaubt ist uns der Walde.” In 1544 Johann Roh or Horn attached it to his Hymn, “Lob’ Gott getrost mit Singen,” in his Ein Gesangbuch der Bruder inn Behemen und Merherrn” (Nürnberg, 1544). In a simplified form the tune was attached to Kolross’ Hymn in the 1662 (Frankfort) Praxis Pietatis Melica. The melody does not occur elsewhere in the Cantatas or Oratorios. Choralgesange, Nos. 176, 177. The words of the concluding Choral are the fourth stanza of the Hymn:
Translations are noted in the Dictionary of Hymnology, p. 631. Form. Simple (2 Ob. d’amore, Strings, Continuo). Choralgesange, No. 178. [Back to Table of Contents]Cantata XXXVIII.Aus tiefer Noth schrei ich zu dir2 . Twenty-first Sunday after Trinity (c. 1740) Melody: “Aus tiefer Noth schrei ich zu dir” ? Martin Luther 1524 A Choral Cantata, on Martin Luther’s free translation of Psalm cxxx, written in 1523 and published in 1524, with the melody, in Walther’s Geystliche gesangk Buchleyn (Wittenberg). An earlier version of the Hymn (with the melody) is in Eyn Enchiridion oder Handbuchlein (Erfurt, 1524), and (to another tune) in Etlich Christlich lider (Wittenberg, 1524). The tune is known as “Luther’s 130th,” and may be regarded with some probability as his composition. The melody does not occur elsewhere in the Cantatas or Oratorios. Organ Works, N. xvi. 68, 72. (a)The words of the opening movement are the first stanza of Luther’s Hymn:
Translations of the Hymn into English are noted in the Dictionary of Hymnology, pp. 96, 1607. Form. Choral Motett (2 Ob., 4 Trombones, Strings, Continuo). Erk, No. 150. (b)The words of the concluding Choral are the fifth stanza of Luther’s Hymn:
Form. Simple (4 Trombones, 2 Ob., Strings, Continuo). Choralgesange, No. 31. Bach introduces the melody (basso marcato) into the accompaniment of the Soprano Recitativo a battuta, “Ach! dass mein Glaube” (B.G. vii. 295). [Back to Table of Contents]Cantata XXXIX.Brich dem Hungrigen dein Brod1 . First Sunday after Trinity (c. 1740)The melody of the concluding Choral is Louis Bourgeois’ “Ainsi qu’on oit” (see Cantata 13) The words of the concluding Choral are the sixth stanza of David Denicke’s paraphrase of the Beatitudes, “Kommt, lasst euch den Herren lehren.” The Hymn was first published, to Bourgeois’ melody, in the New Ordentlich Gesangbuch (Brunswick, 1648), of which Denicke and Justus Gesenius (1601-73) were the editors. Denicke was born at Zittau in 1603. In 1629 he became tutor to the sons of Duke Georg of Brunswick-Lüneburg. He held various important public offices in Hanover and died in 1680:
Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 287. Form. Simple (2 Fl., 2 Ob., Strings, Continuo). Choralgesange, No. 104. [Back to Table of Contents]Cantata XL.Dazu ist erschienen der Sohn Gottes1 . Feast of St Stephen (Christmas) (c. 1723) Melody: “Wir Christenleut’ ” Caspar Fuger the younger 1593 (a)The words and melody of the third movement are from Caspar Fuger’s Christmas Hymn, “Wir Christenleut’.” The melody, which is found in ms. 1589 associated with the Hymn, may be attributed to Caspar Fuger, the younger1 , and was first published in Martin Fritzsch’s Gesangbuch. Darinnen Christliche Psalmen unnd Kirchen Lieder (Dresden, 1593). Bach uses the melody also in Cantatas 110 and 142, and in the “Christmas Oratorio,” No. 35. Organ Works, N. xv. 36; xix. 28. The Hymn, attributed to the elder Caspar Fuger, was probably written about 1552, and was published first in Drey schöne Newe Geistliche Gesenge (1592). The words are the third stanza of the Hymn:
Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 401. Form. Simple (2 Ob., Corno, Strings, Continuo). Choralgesange, No. 379.  Melody: “Meine Hoffnung stehet feste” Anon. 1680  Melody: “Bleiches Antlitz, sei gegrusset” Friedrich Funcke 1686  Melody: “Einen guten Kampf hab’ ich” Anon. 1713 (b)The words and melody of the sixth movement are from Paul Gerhardt’s “Schwing’ dich auf zu deinem Gott.” The Hymn was first published, to another tune, in Johann Crüger’s 1653 (Berlin) edition of his Praxis Pietatis Melica. The melody which Bach uses in this movement is found, in identical form, as No. 144 of the second Part of Johann Sebastian Bachs vierstimmige Choralgesänge gesammlet von Carl Philipp Emmanuel Bach (Berlin and Leipzig, 1769). According to the Choralgesange, No. 305, the tune is a slight reconstruction (“etwas umgebildet”) of a melody (Zahn, iv. No. 6295a) published in the second Part of Daniel Vetter’s Musicalische Kirch- und Hauss-Ergotzlichkeit (Leipzig, 1713) in association with Heinrich Albert’s (1604-51) “Einen guten Kampf hab’ ich.” Bach’s and Vetter’s forms clearly are related. But Bach’s text is still closer to a melody which occurs in Joachim Neander’s (1650-80) Glaub- und Liebesübung (Bremen, 1680), set to his own “Meine Hoffnung stehet feste.” Described by Neander as a “bekannte Melodie,” the apparent original of it is found in the Lüneburgisches Gesangbuch (Lüneburg, 1686), set to Johann Rist’s “Bleiches Antlitz, sei gegrüsset.” The tune there bears the initials “F. F.,” i.e. Friedrich Funcke, who was born in 1642, was Cantor of St John’s Church, Lüneburg, 1664-94, and died 1699. Bach’s melody therefore must either accept Funcke as its author, or the two tunes must be held derivatives of an original now lost. In any case the ascription of the tune to Bach is inaccurate. The melody does not occur elsewhere in Bach’s works. The words of the sixth movement of the Cantata are the second stanza of Paul Gerhardt’s Hymn:
Form. Simple (Corno, 2 Ob., Strings, Continuo). Choralgesange, No. 305.  Melody: “Freuet euch, ihr Christen alle” ? Andreas Hammerschmidt 1646 (c)The words of the concluding Choral are from Christian Keimann’s Christmas Hymn, “Freuet euch, ihr Christen alle,” published, with the tune, in Part IV of Andreas Hammerschmidt’s Musicalischer Andachten Geistlicher Moteten undt Concerten (Freiberg, 1646). Andreas Hammerschmidt, the composer (?) of the melody, was born at Brux in Bohemia in 1612. He received his musical education from Stephen Otto, Cantor at Schandau, and in 1635 became Organist of St Peter’s Church, Freiberg (Saxony). From thence he went (1639) to Zittau as Organist of St John’s Church, and died there in 1675. Bach has not used the melody elsewhere. The words of the concluding Choral are the fourth stanza of Keimann’s Hymn. Keimann was born in 1607 at Pankratz in Bohemia. In 1634 he was appointed Co-rector, and in 1638 Rector, of the Gymnasium at Zittau. He died in 1662. The Hymn is said to have been written at Christmas 1645. The fourth stanza may refer to the opening of the Peace Congresses at Münster and Osnabruck which concluded the Thirty Years’ War:
An English translation of the Hymn is noted in the Dictionary of Hymnology, p. 614. Form. Simple (Corno, 2 Ob., Strings, Continuo). Choralgesange, No. 105. [Back to Table of Contents]Cantata XLI.Jesu, nun sei gepreiset1 . Feast of the Circumcision (New Year’s Day) (c. 1740) Melody: “Jesu, nun sei gepreiset” Anon. 1591 A Choral Cantata, on Johann Hermann’s New Year’s Hymn, “Jesu, nun sei gepreiset.” Words and melody were published together in the Wittenberg collection of Christmas Hymns, Cantilenae latinae et germanicae...Lateinische und Deutsche Weinacht Lieder (Wittenberg, 1591). Of the author nothing positive is known. It is conjectured that he was a Lutheran theologian resident at Wittenberg 1548-63. The melody, which Bach uses in the first and last movements, occurs also in Cantatas 171 and 190. In all three cases he introduces an important modification of the original tune by concluding with the opening phrases of the Hymn. There is another version of the melody in the Choralgesänge, No. 203, which is closer to the 1591 text. (a)The words of the opening movement are the first stanza of Hermann’s Hymn:
Form. Choral Fantasia (3 Trombe, Timpani, 3 Ob., Strings, Organ, Continuo)4 . (b)The words of the concluding Choral are the third stanza of Hermann’s Hymn:
Form. Extended (3 Trombe, Timpani, 3 Ob., Strings, Organ, Continuo). Choralgesange, No. 204. [Back to Table of Contents]Cantata XLII.Am Abend aber desselbigen Sabbaths. First Sunday after Easter (“Quasimodo geniti”) (c. 17311 )(a)The words of the fourth movement are the first stanza of Johann Michael Altenburg’s “Verzage nicht, du Häuflein klein,” first published (to no specified tune) as a broadsheet c. 1632 (Leipzig), and later in Andächtige Hertz- und Seelen-Musica (Nordhausen, c. 1635). The Hymn is also attributed, on doubtful evidence, to Gustavus Adolphus of Sweden. Altenburg was born at Alach, near Erfurt, in 1584. In 1608 he was appointed pastor of Ilversgehofen, near Erfurt, and later to other charges near the city. Forced by the war to seek refuge in Erfurt in 1631, he composed the Hymn “Verzage nicht” there. The rest of his life was passed in Erfurt, where he died in 1640. He was a good musician and in early life was Cantor of St Andrew’s Church, Erfurt. A number of hymn melodies by him are known:
Translations of the Hymn into English are noted in the Dictionary of Hymnology, pp. 55, 1721. Form. A Soprano and Tenor Duetto (Fagotto, Violoncello, Organ, Continuo). Though marked “Choral,” Bach does not use the Hymn melody.  Melody: “Verleih’ uns Frieden gnadiglich” Anon. 1535  Melody: “Gieb unsern Fursten” Anon. 1566 (b)The melody of the last movement is that of Luther’s “Verleih’ uns Frieden gnadiglich,” published, with the Hymn, in Kirchē gesenge, mit vil schönen Psalmen unnd Melodey (Nürnberg, 1531), and in Joseph Klug’s Geistliche Lieder (Wittenberg, 1535 [1529]). The musical texts are nearly identical, Bach’s version conforming rather to the latter. The tune bears relationship to that of Luther’s “Erhalt’ uns, Herr” (see Cantata 6): both derive from the melody of the Antiphon, “Da pacem, Domine.” The melody occurs also in Cantata 126. There is late sixteenth century authority for the F. sharp at the fourth note (supra), which Bach adopts. But his variation of the second line is not indicated by Zahn as occurring earlier. The melody of the additional stanza, “Gieb unsern Fürsten,” was first published, with the Hymn, in Das christlich Kinderlied D. Martini Lutheri (Wittenberg, 1566). The melody occurs also in Cantata 126. The “Amen” which Bach uses is found in association with the melody in 1573. The words of the concluding Choral are the first stanza of Luther’s “Verleih’ uns Frieden gnadiglich,” a translation of the Antiphon, “Da pacem, Domine.” It appeared first in prose in 1527 and in metrical form in Klug’s Geistliche Lieder (supra). The additional stanza, “Gieb unsern Fürsten,” founded on 1 Timothy ii. 1, 2, was attached to the Hymn in 1566 (supra):
Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 276. Form. Simple (2 Ob., Fagotto, Strings, Organ, Continuo). Choralgesange, No. 322. [Back to Table of Contents]Cantata XLIII.Gott fahret auf mit Jauchzen4 . Ascension Day (1735)For the melody of the concluding Choral, Johann Schop’s “Ermuntre dich, mein schwacher Geist,” see Cantata 11. The words are the first and thirteenth stanzas of Johann Rist’s Ascension Hymn, “Du Lebensfürst, Herr Jesu Christ” (see Cantata 11):
Form. Simple (3 Trombe, 2 Ob., Strings, Continuo). Choralgesange, No. 81. [Back to Table of Contents]Cantata XLIV.Sie werden euch in den Bann thun3 . Sixth Sunday after Easter (“Exaudi”)4 (c. 1725)(a)For the melody of the fourth movement, “Ach Gott, wie manches Herzeleid,” see Cantata 3. The words are part of the first stanza of Martin Moller’s (?) “Ach Gott, wie manches Herzeleid” (see Cantata 3):
Form. Tenor Unison Choral (Fagotto, Continuo). (b)For the melody of the concluding Choral, Heinrich Isaak’s “O Welt, ich muss dich lassen,” see Cantata 13. The words are the fifteenth stanza of Paul Flemming’s “In allen meinen Thaten” (see Cantata 13):
Form. Simple (2 Ob., Fagotto, Strings, Continuo). Choralgesänge, No. 296. [Back to Table of Contents]Cantata XLV.Es ist dir gesagt, Mensch, was gut ist. Eighth Sunday after Trinity (c. 1740) Melody: “Die Wollust dieser Welt” Anon. 1679* The melody of the concluding Choral is generally associated with Johann Heermann’s “O Gott, du frommer Gott,” but is not to be confused with the melody of 1693 (see Cantata 24). The tune, whose source is not known, appears first in Ahashuerus Fritsch’s Himmels-Lust und Welt-Unlust (Jena, 1679), in association with Johann Jakob Schütz’ (1640-90) “Die Wollust dieser Welt” (published in 1675). A reconstruction of the melody is found in the Darmstadt Geistreiches Gesang-Buch (Darmstadt, 1698), which Bach follows more closely. The melody is used also in Cantatas 64, 94, 128, 129, and in the unfinished Cantata U 1, “Ehre sei Gott in der Höhe.” The Choralvariationen or Partite (N. xix. 44) upon the melody, “O Gott, du frommer Gott,” treat another tune, originally “Gross ist, O grosser Gott,” published in the Hanover New Ordentlich Gesang-Buch (Hanover, 1646). Bach’s version of “Die Wollust” is founded upon a reconstruction of the tune in 1698. His modifications of lines 4-6 appear to be original. The words of the concluding Choral are the second stanza of Heermann’s “O Gott, du frommer Gott” (see Cantata 24):
Form. Simple (2 Fl., 2 Ob., Strings, Continuo). Choralgesange, No. 278. [Back to Table of Contents]Cantata XLVI.Schauet doch und sehet. Tenth Sunday after Trinity (c. 1725) Melody: “O grosser Gott von Macht” ? Melchior Franck 1632 The melody and words of the concluding Choral are from Balthasar Schnurr’s (1572-1644) “O grosser Gott von Macht,” published together as a broadsheet, entitled Ein Andachtiges Buss-Lied, Aus der Vorbitt Abrahams fur die Sodomiter (Leipzig, 1632). The Cantionale sacrum (Gotha, Part II, 1648) contains a harmonisation of the melody by Melchior Franck. As that work includes thirty tunes harmonised by him, it may be conjectured that he was the composer of the melody, “O grosser Gott.” Melchior Franck was born at Zittau, c. 1573-80. In 1601 he was Town “Musiker” at Nürnberg, and two or three years later became Capellmeister at Coburg. He died there in 1639. The melody, which Bach does not use elsewhere, is not in the Choralgesange. There does not appear to be earlier sanction for Bach’s treatment of the fourth and sixth lines of the tune. The words of the concluding Choral are the ninth stanza of the Hymn, an addendum to the original broadsheet of 1632, first published in Jeremias Weber’s Gesangbuch (Leipzig, 1638). Its authorship is attributed by Erk1 and Spitta2 to Johann Matthaus Meyfart (1590-1642). In Weber’s Hymn book, however, it bears the unidentified initials, “M. J. W.”:
Form. Extended (Tromba or Corno da Tirarsi4 , 2 Fl. (a due), Strings, Continuo). Erk, No. 280. [Back to Table of Contents]Cantata XLVII.Wer sich selbst erhohet, der soll erniedriget werden. Seventeenth Sunday after Trinity (c. 1720) Melody: “Warum betrübst du dich, mein Herz” Anon. 1565 The words and melody of the concluding Choral are those of the Hymn “Warum betrübst du dich, mein Herz.” The melody is found in association with the Hymn in a ms. (1565) of Bartholomaus Monoetius of Crailsheim, among the “cantiones quae pro ratione temporis tum in schola tum etiam in ecclesia Creilsheimensi solent cantari.” In B.G. xxxiii. p. 28 it is conjectured that the tune descends from the old Meistersinger. The melody occurs also in Cantata 138 and in Johann Christian Bach’s Motett, “Ich lasse dich nicht.” There are other harmonisations of the tune in the Choralgesange, Nos. 331, 332. Bach’s modification of the concluding phrase is found in 1588. The words of the concluding Choral are the eleventh stanza of the Hymn, whose authorship has been attributed, apparently without foundation, to Hans Sachs (1494-1576)1 . It occurs in Zwey schone newe geistliche Lieder (Nurnberg, c. 1560) and is said to be found in a Polish Hymn book edited by Pastor Seklucyan at Konigsberg in 1559:
Translations of the Hymn into English are noted in the Dictionary of Hymnology, pp. 1234, 1724. Form. Simple (2 Ob., Strings, Continuo). Choralgesange, No. 333. [Back to Table of Contents]Cantata XLVIII.Ich elender Mensch, wer wird mich erlosen. Nineteenth Sunday after Trinity (c. 1740) Melody: “Ach Gott und Herr” Anon. 1625  Reconstruction 1655 (a)The words and melody of the third movement are those of the Lenten Hymn, “Ach Gott und Herr, Wie gross und schwer,” first published together in As hymnodus sacer (Leipzig, 1625). A reconstruction of the melody, in a major key1 , which Bach follows, first appeared in Christoph Peter’s (“Sangmeister” at Guben) Andachts Zymbeln Oder andachtige und geistreiche...Lieder (Freiberg, 1655). There is another harmonisation of the tune in Choralgesange, No. 3. Organ Works, N. xviii. 1, 2, 3. The words of the concluding Choral are the fourth stanza of the Hymn. The stanza was first published at Jena (broadsheet) in a sermon by Dr Johann Major (or Gross) in 1613. In a second edition of the broadsheet, printed at Erfurt in the same year, six stanzas of the Hymn were included. Its authorship is attributed to Johann Major (1564-1654), a Professor at Jena University, 1611-54, and to Martin Rutilius (1550-1618), deacon and archdeacon at Weimar, 1586-1618. It is placed by Fischer-Tümpel1 among the “Lieder von unbekannten Verfassern”2 :
Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 983. Form. Simple (Tromba, 2 Ob., Strings, Continuo). Choralgesange, No. 4.  Melody: “Herr Jesu Christ, du höchstes Gut” Anon. 1593 (b)The words and melody of the concluding Choral are those of the “Kreuz- und Trostlied,” “Herr Jesu Christ, ich schrei zu dir,” though the melody is more familiar in association with Bartholomaus Ringwaldt’s Lenten Hymn, “Herr Jesu Christ, du hochstes Gut.” It was published, to another Hymn, in the Dresden Gesangbuch of 1593. In Christopher Demantius’ Threnodiae (Freiberg, 1620) it occurs in association with “Herr Jesu Christ, ich schrei zu dir.” The melody is the Tenor (slightly altered) of a four-part setting of “Wenn mein Stundlein vorhanden ist.” Its derivation from the latter is patent (see Cantata 15). The melody occurs also in Cantatas 113, 131, 166, 168. There is another harmonisation of it in the Choralgesange, No. 141. The words of the concluding Choral are the twelfth stanza of the Hymn “Herr Jesu Christ, ich schrei zu dir,” whose author is not identified. Hymn and melody appear together in Demantius’ Threnodiae (supra):
Form. Simple (Tromba, 2 Ob., Strings, Continuo). Choralgesange, No. 144. In the opening movement Bach introduces the melody in canon in the accompaniment (Tromba, Oboi). [Back to Table of Contents]Cantata XLIX.Ich geh’ und suche mit Verlangen. Twentieth Sunday after Trinity (c. 1731)The melody and words of the concluding Choral are from Philipp Nicolai’s “Wie schon leuchtet der Morgenstern” (see Cantata 1). The words are the seventh stanza of the Hymn:
Form. Dialogus for Soprano and Bass, the Soprano having the cantus (Oboe d’amore, Strings, Organ, Continuo)1 . It is marked “Duetto.” [Back to Table of Contents]Cantata LI.Jauchzet Gott in allen Landen. Fifteenth Sunday after Trinity2 (1731 or 1732)The words and melody of the fourth movement are from Johann Graumann’s “Nun lob’, mein’ Seel’, den Herren” (see Cantata 17). The words are the fifth stanza of the Hymn:
Form. Soprano Unison Choral (Violino I and II Soli, Continuo). [Back to Table of Contents]Cantata LII.Falsche Welt, dir trau ich nicht. Twenty-third Sunday after Trinity (c. 1730) Melody: “In dich hab’ ich gehoffet, Herr” Seth Calvisius 1581 The melody, “In dich hab’ ich gehoffet, Herr,” which Bach uses in the concluding Choral of the Cantata, was composed by Seth Calvisius or Kallwitz (1556-1615), a predecessor of Bach as Cantor of St Thomas’ Church, Leipzig. It was published, along with the Hymn, in Gregorius Sunderreitter’s Himlische Harpffe Davids (Nürnberg, 1581). The melody occurs elsewhere in Cantata 106, in the “St Matthew Passion,” No. 38, and in the “Christmas Oratorio,” No. 46. Organ Works, N. xviii. 59. In Johann Hermann Schein’s Cantional (Leipzig, 1627) it appears in a form very similar to that in which Bach employs it. In the Orgelbuchlein (N. xv. 113) the melody called “In dich hab’ ich gehoffet” is not by Calvisius, but is an Easter Hymn tune dating at least from the fifteenth century. The words of the concluding Choral are the first stanza of Adam Reissner’s, or Reusner’s, Hymn (based on Psalm xxxi), “In dich hab’ ich gehoffet, Herr,” first published in Form und Ordnung Gaystlicher Gesang und Psalmen (Augsburg, 1533):
Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 955. Form. Embellished (2 Cor., 3 Ob., Fagotto, Strings, Organ, Continuo). Choralgesange, No. 2122 . [Back to Table of Contents]Cantata LV.Ich armer Mensch, ich Sündenknecht. Twenty-second Sunday after Trinity (1731 or 1732) Melody: “Werde munter, mein Gemuthe” Johann Schop 1642 The melody of the concluding Choral is Johann Schop’s “Werde munter, mein Gemüthe,” first published, with the Hymn, in Part III of Johann Rist’s Himlischer Lieder mit Melodeien (Lüneburg, 1642). The melody occurs also in Cantatas 146, 147, 154, and in the “St Matthew Passion,” No. 48. There are two harmonisations of it in the Choralgesänge, Nos. 363, 364. Bach’s seventh line is found in Vopelius (1682). The words of the concluding Choral are the sixth stanza of Johann Rist’s Evening Hymn, “Werde munter, mein Gemüthe,” first published, with the melody, in Part III of his Himlischer Lieder (supra):
English translations of the Hymn are noted in the Dictionary of Hymnology, p. 1254. Form. Simple (Flauto, Oboe, Strings, Continuo). Choralgesange, No. 362. [Back to Table of Contents]Cantata LVI.Ich will den Kreuzstab gerne tragen1 . Nineteenth Sunday after Trinity (1731 or 1732) Melody: “Du, O schones Weltgebaude” Johann Cruger 1649 The melody and words of the concluding Choral are from Johann Franck’s Hymn, “Du, O schönes Weltgebaude.” The melody was first published, with the first stanza only of Franck’s Hymn (but with the first line as, “Du geballtes Weltgebäude”), in Johann Crüger’s Geistliche Kirchen-Melodien (Leipzig, 1649). The melody does not appear elsewhere in the Cantatas or Oratorios. Another harmonisation of it is in the Choralgesange, No. 71. The words of the concluding Choral are the sixth stanza of Franck’s Hymn. The complete text of it was first published, along with the melody, in Christoph Runge’s edition of Crüger’s Praxis Pietatis Melica (Berlin, 1653):
Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 387. Form. Simple (2 Ob., Taille3 , Strings, Continuo). Choralgesange, No. 72. [Back to Table of Contents]Cantata LVII.Selig ist der Mann. Feast of St Stephen (Christmas) (c. 1740) Melody: “Hast du denn, Liebster, dein Angesicht” Anon. 1665 The melody of the concluding Choral is generally associated with Joachim Neander’s Thanksgiving Hymn, “Lobe den Herren, den mächtigen König der Ehren,” and was appropriated for it by him in his Glaub- und Liebesubung (Bremen, 1680). The tune originally appeared in Part II of the Stralsund Ernewertes Gesangbuch, Darinnen 408 Geistreiche Psalmen und Lieder (Stralsund, 1665), set to “Hast du denn, Liebster, dein Angesicht gäntzlich verborgen,” upon which Ahashuerus Fritsch modelled his Hymn (infra). Zahn suggests a secular origin for the tune. There is early eighteenth century authority for Bach’s treatment of the second part of the tune. The melody occurs also in Cantata 137 and in the unfinished Cantata U 3, “Herr Gott, Beherrscher aller Dinge.” Organ Works, N. xvi. 14 (“Kommst du nun, Jesu, vom Himmel herunter”). Bach’s treatment of bars 1 and 2 after the middle double-bar is not uniform. In the two following bars (3 and 4) his melody is invariable and is found in 1708. The words of the concluding Choral are the sixth stanza of Ahashuerus Fritsch’s Hymn-dialogue between Christ and the Soul, “Hast du denn, Jesu, dein Angesicht gäntzlich verborgen.” The Hymn, based upon an earlier model (supra), was first published (without the melody) in Fritsch’s Zwey und Siebenzig neue Himmel-susse Jesus-Lieder (Jena, 1668). Fritsch was born at Mücheln, near Merseburg, in 1629. He became Chancellor and President of the Consistory at Rudolstadt, and died there in 1701:
Form. Simple (2 Ob., Taille1 , Strings, Organ, Continuo). Choralgesänge, No. 231. [Back to Table of Contents]Cantata LVIII.Ach Gott, wie manches Herzeleid. Sunday after the Circumcision (1733)(a)The melody of the opening movement is that of Martin Moller’s (?) Hymn, “Ach Gott, wie manches Herzeleid” (see Cantata 3). The words of the Choral are part of the first stanza of the Hymn:
Form. A Dialogus between Soprano and Bass, the Soprano having the melody (2 Ob., Taille, Strings, Continuo). (b)For the melody of the fifth movement, “Ach Gott, wie manches Herzeleid,” or “Herr Jesu Christ, mein’s Lebens Licht,” see Cantata 3. The words of the Choral are the second stanza of Martin Behm’s funerary Hymn, “O [Herr] Jesu Christ, mein’s Lebens Licht,” first published in a collection entitled Christliche Gebet (1610), and thence in his Zehen Sterbegebet Reimweise zugerichtet (Wittenberg, 1611). Behm was born at Lauban, in Silesia, in 1557. He was assistant in the Town school, deacon, and eventually chief pastor there. He died in 1622. He was one of the best and most prolific hymn writers of his period:
Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 127. Form. A Dialogus between Soprano and Bass, the Soprano having the melody (2 Ob., Taille, Strings, Continuo). [Back to Table of Contents]Cantata LIX.Wer mich liebet, der wird mein Wort halten. Whit Sunday (1716) Melody: “Komm, heiliger Geist, Herre Gott” Anon. 1535 
The melody and words of the penultimate movement are from Luther’s Whitsuntide Hymn, “Komm, heiliger Geist, Herre Gott,” an expansion of the Latin Antiphon, “Veni Sancte Spiritus.” The Hymn was first published, with the melody, in Walther’s Geystliche gesangk Buchleyn (Wittenberg, 1524), and in both editions of the Erfurt Enchiridion (1524). An earlier form of the melody (supra) appears, with the Hymn, in Klug’s Geistliche Lieder (Wittenberg, 1535 [1529]). The melody is found also in Cantata 175 and, in a free form, in Cantata 172. It occurs also in Motett 2, “Der Geist hilft unsrer Schwachheit auf.” Organ Works, N. xvii. 1, 10. The words of the Choral are the first stanza of Luther’s Hymn:
English translations of the Hymn are noted in the Dictionary of Hymnology, p. 631. Form. Embellished (Strings, Continuo). Choralgesange, No. 220. [Back to Table of Contents]Cantata LX.O Ewigkeit, du Donnerwort. Twenty-fourth Sunday after Trinity (1732)(a)The melody of the opening movement is Johann Schop’s “Wach auf, mein Geist,” reconstructed by Johann Cruger for Rist’s Hymn, “O Ewigkeit, du Donnerwort” (see Cantata 20). The words of the Choral are the first stanza of Rist’s Hymn:
Form. A Dialogus between Alto and Tenor, the Alto having the melody (Corno, 2 Ob. d’amore, Strings, Continuo).  Melody: “Es ist genug” Johann Rodolph Ahle 1662 (b)The melody of the concluding Choral is Johann Rodolph Ahle’s setting of Burmeister’s “Es ist genug; so nimm, Herr, meinen Geist.” The tune was first published, with the Hymn, in Part III (1662) of Ahle’s Neuer Geistlicher Arien, So mit 1, 2, 3, oder 4, Stimmen (Muhlhausen, 1660-64). Ahle, born at Mühlhausen in 1625, was Organist of the Blasiuskirche and Burgomaster there. He died in 1673. He was a very prolific composer of “geistliche Arien,” and collaborated especially with Burmeister. The melody does not occur elsewhere in the Cantatas or Oratorios. The words of the concluding Choral are the fifth stanza of Franz Joachim Burmeister’s “Es ist genug,” which was published, with the melody, in 1662 (supra). Burmeister was born, probably in 1633, at Lüneburg. He was appointed Deacon of St Michael’s Church there in 1670 and held the post until his death in 1672. He was a friend of Johann Rist, who admitted him to his Order of Elbe Swans in 1660:
Form. Simple (Corno, 2 Ob. d’amore, Strings, Continuo). Choralgesange, No. 91. [Back to Table of Contents]Cantata LXI.Nun komm, der Heiden Heiland1 . First Sunday in Advent (1714)(a)The melody of the opening movement is that of Luther’s Christmas Hymn, “Nun komm, der Heiden Heiland” (see Cantata 36). The words are the first stanza of the Hymn:
Form. A Choral Fantasia in the form of a French “Ouverture,” into whose opening and closing Grave sections the Choral melody is introduced, all of the four vocal parts in turn or together singing the cantus (Fagotto, Strings, Organ, Continuo2 ). (b)The words and melody of the concluding movement are Philipp Nicolai’s “Wie schön leuchtet der Morgenstern” (see Cantata 1). The words are part of the seventh stanza of the Hymn:
Form. Choral Fantasia (fourteen bars) (Fagotto, Strings, Organ, Continuo). [Back to Table of Contents]Cantata LXII.Nun komm, der Heiden Heiland. First Sunday in Advent (after 17341 )A Choral Cantata, on Luther’s Christmas Hymn, “Nun komm, der Heiden Heiland” (see Cantata 36). (a)The words of the opening movement are the first stanza of the Hymn:
Form. Choral Fantasia (Corno, 2 Ob., Strings, Continuo). (b)The words of the concluding Choral are the eighth stanza of the Hymn:
Form. Simple (Corno, 2 Ob., Strings, Continuo). Choralgesange, No. 265. [Back to Table of Contents]Cantata LXIV.Sehet, welch’ eine Liebe hat uns der Vater erzeiget. Feast of St John the Evangelist (Christmas) (? 1723) Melody: “Grates nunc omnes reddamus” Anon. 1524  Melody: “Gelobet seist du, Jesu Christ” Anon. 1524 (a)The melody of the second movement, “Gelobet seist du, Jesu Christ,” was first published, with Luther’s Hymn, in Johann Walther’s Geystliche gesangk Buchleyn (Wittenberg, 1524). The tune is a simplification, doubtless by Walther, of the melody of the Latin Sequence, “Grates nunc omnes reddamus,” the version of which printed above is found in Thomas Muntzer’s Deutsch Euangelisch Messze (Altstadt, 1524). The melody occurs also in Cantata 91 and in the “Christmas Oratorio,” Nos. 7 and 28. A treatment of the melody, Simple in form and unaccompanied, is in B.G. xvi. 371 and another will be found there at p. xv. Another harmonisation of the tune is in the Choralgesänge, No. 107. An arrangement of it by Bach for accompanying the congregation is in N. xviii. 37. Organ Works, N. xv. 15; xviii. 38, 39. The words of the second movement are the seventh stanza of Luther’s Christmas Hymn, an expansion of the Latin Sequence, “Grates nunc omnes reddamus,” first published as a broadsheet at Wittenberg in 1524, and, with the melody, in Walther’s Hymn book (supra):
English translations of the Hymn are noted in the Dictionary of Hymnology, p. 408. Form. Simple (Cornetto, 3 Trombones, Strings, Organ, Continuo). Choralgesange, No. 108. (b)The melody of the fourth movement is the 1679 tune, “O Gott, du frommer Gott,” or “Die Wollust dieser Welt” (see Cantata 45). Another treatment of the melody, to the same words, is printed in B.G. xvi. 372 as an Appendix. It is No. 281 of the Choralgesange. The words of the fourth movement are the first stanza of Georg Michael Pfefferkorn’s Hymn, “Was frag ich nach der Welt,” first published as a broadsheet at Altenburg in 1667. It has a distinctive melody of its own, by Jakob Hintze (1679). Pfefferkorn was born at Ifta, near Creuzburg, in 1645. He became a private tutor and master in the Gymnasium at Altenburg, and, later, tutor to the children of Duke Ernst of Gotha. He was appointed in 1682 Superintendent at Grafen-Tonna, near Gotha, and died there in 1732.
An English translation of the Hymn is noted in the Dictionary of Hymnology, p. 893. Form. Embellished (Cornetto, 3 Trombones, Strings, Organ, Continuo). Choralgesänge, No. 280.  Melody: “Jesu, meine Freude” Johann Cruger 1653 (c)The melody of the concluding Choral is Johann Crüger’s “Jesu, meine Freude,” which first appeared, set to Johann Franck’s Hymn, in the 1653 (Berlin) edition of the Praxis Pietatis Melica. The melody also occurs in Cantatas 81 and 87, and in Motett 3, “Jesu, meine Freude.” There is another harmonisation of it in the Choralgesänge, No. 195. Bach’s treatment of the second line varies. Only in Cantatas 64 and 87 and the Organ Preludes does he follow Crüger’s text (the C sharp at the fourth note dates from 1674). In the other Cantata and the Motett his version of that line, and also of the penultimate line, appears to be his own and to have been copied into later Hymn books. Organ Works, N. xv. 31; xviii. 64; P. v. 112. The words of the concluding Choral are the fifth stanza of Johann Franck’s “Jesu, meine Freude,” first published, with the melody, in 1653 (supra). The Hymn was modelled upon a secular song, which had appeared in 1641, “Flora meine Freude; Meiner Seelenweide”:
Translations of the Hymn into English are noted in the Dictionary of Hymnology, pp. 591, 1657. Form. Simple (Cornetto, 3 Trombones, Strings, Organ, Continuo). Choralgesange, No. 200. [Back to Table of Contents]Cantata LXV.Sie werden aus Saba Alle kommen2 . Feast of the Epiphany (1724) Melody: “Puer natus in Bethlehem” Anon. 1543  Melody: “Ein Kind geborn zu Bethlehem” (a)The words and melody of the second movement are those of the Christmas Hymn, “Ein Kind geborn zu Bethlehem,” a translation of the Latin Hymn, “Puer natus in Bethlehem,” which is as old as the fourteenth century. The earlier melody occurs in Joseph Klug’s Geistliche Lieder zu Wittemberg, Anno 1543 (Wittenberg, 1543), where it is set to both the Latin and German words. Another melody is found in Lucas Lossius’ Psalmodia, hoc est, Cantica sacra veteris ecclesiae selecta (Nürnberg, 1553 [1550]. Bach uses the later melody here. With alterations the 1543 tune is that of Luther’s “Vom Himmel kam der Engel Schaar.” The 1553 melody is the descant to the 1543 canto fermo, the latter becoming the Tenor in early settings. Neither melody occurs elsewhere in the Cantatas or Oratorios. Organ Works, N. xv. 13, 22 (“Vom Himmel kam der Engel Schaar”). The words of the second movement are the fourth stanza of the Christmas Hymn, “Ein Kind geborn zu Bethlehem,” published, with the melody, by Joseph Klug in 1543 (supra):
Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 941. Form. Embellished (2 Fl., 2 Ob. da caccia, Continuo). Choralgesange, No. 302.  Melody: “Was mein Gott will” Anon. 1572 [1571] (b)The melody of the concluding Choral, “Was mein Gott will, das g’scheh’ allzeit,” is of French origin, and appears first in Pierre Attaignant’s Trente et quatre chansons musicales (Paris, [1529]) as the melody of a secular song, “Il me souffit de tous mes maulx1 .” It was attached to the Hymn, “Was mein Gott will,” in Joachim Magdeburg’s Christliche und Trostliche Tischgesenge, mit Vier Stimmen (Erfurt, 1572 [1571]). The melody occurs also in Cantatas 72, 92, 103, 111, 144, and in the “St Matthew Passion,” No. 31. Bach follows the Dresden (1597) form. The words of the concluding Choral are the tenth stanza of Paul Gerhardt’s “Ich hab’ in Gottes Herz und Sinn,” first published, to the melody “Was mein Gott,” in the 1647 (Berlin) edition of Crüger’s Praxis Pietatis Melica:
Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 412. Form. Simple (Continuo). Choralgesange, No. 346. [Back to Table of Contents]Cantata LXVI.Erfreut euch, ihr Herzen. Easter Monday (c. 1731) Melody: “Christ ist erstanden” Anon. 1535 Stanza 1.  Stanza iii1 The words and melody of the concluding Choral are those of the medieval Easter Hymn, “Christ ist erstanden.” They are found together in Joseph Klug’s Geistliche Lieder zu Wittemberg (Wittenberg, 1535 [1529]). The melody occurs in a fifteenth century ms. and its earliest printed form dates from 1513. The words are as old as the thirteenth century. The melody does not occur elsewhere in the Cantatas and Oratorios. There is a harmonisation of the complete Hymn in the Choralgesänge, No. 36. Organ Works, N. xv. 83. The words of the Choral are the third stanza of the Hymn:
Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 225. Form. Simple (Continuo). Choralgesange, No. 37. [Back to Table of Contents]Cantata LXVII.Halt’ im Gedachtniss Jesum Christ2 . First Sunday after Easter (“Quasimodo geniti”) (c. 1725) Melody: “Erschienen ist der herrlich’ Tag” Nicolaus Herman 1560  Melody: “Erstanden ist der heil’ge Christ” Anon. 15551 (a)The melody and words of the fourth movement are those of the Easter Hymn, “Erschienen ist der herrlich’ Tag,” of which Nicolaus Herman was both author and composer. The Hymn and melody were first published in his Die Sontags Euangelia uber das gantze Jar (Wittenberg, 1560). Both are reminiscent of the Easter Hymn, “Erstanden ist der heil’ge Christ.” The melody occurs also in Cantata 145. Bach’s third line is found in an early seventeenth century (1605) text. Organ Works, N. xv. 91. The words of the Choral are the first stanza of the Hymn:
Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 514. Form. Simple (Corno da tirarsi, Flauto, 2 Ob. d’amore, Strings, Organ, Continuo). Choralgesange, No. 83.  Melody: “Du Friedefurst, Herr Jesu Christ” Bartholomaus Gesius 1601 (b)The words of the concluding Choral are from Jakob Ebert’s Hymn for Peace, “Du Friedefurst, Herr Jesu Christ.” Ebert was born at Sprottau, in Silesia, in 1549. He was successively Professor of Hebrew, Ethics, and Theology in the University of Frankfort a. Oder, and died there in 1614. The Hymn, with the melody, was first published in Bartholomaus Gesius’ Geistliche deutsche Lieder (Frankfort a. Oder, 1601). The melody is by Bartholomaus Gesius. He was born c. 1555 at Muncheberg, near Frankfort, and from 1593 onwards was Cantor at Frankfort. He died there in 1613 or 1614. The melody is used also in Cantatas 116 and 143. The last line of Bach’s version of the melody is a variant upon Crüger’s text (1649) of the tune. The words of the Choral are the first stanza of the Hymn:
Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 319. Form. Simple (Corno da tirarsi, Flauto, 2 Ob. d’amore, Strings, Organ, Continuo). Choralgesange, No. 68. [Back to Table of Contents]Cantata LXVIII.Also hat Gott die Welt Geliebt1 . Whit Monday (? 17352 ) Melody: “Also hat Gott die Welt geliebt” Gottfried Vopelius 1682 
The words and melody of the opening movement are those of the Hymn, “Also hat Gott die Welt geliebt.” Its author, Salomo Liscow or Liscovius, was born at Niemitsch, near Guben, in 1640. After graduating at Wittenberg, where he was crowned a poet, he was ordained pastor at Otterwisch in 1664, and in 1685 was appointed to a similar position at Wurzen. He died there in 1689. The Hymn was first published in his Christlichen Frauen-Zimmers geistliche Tugend-Spiegel (Leipzig, 1675). The melody was composed by Gottfried Vopelius and was attached to the Hymn in his Neu Leipziger Gesangbuch (Leipzig, 1682 [1681]). Bach has not used the melody elsewhere. It is given neither by Erk nor the Choralgesänge1 . The words of the opening movement are the first stanza of the Hymn:
Form. Choral Fantasia (Corno, 2 Ob., Taille1 , Strings, Continuo). The treatment of the cantus is very free. [Back to Table of Contents]Cantata LXIX.Lobe den Herrn, meine Seele. Twelfth Sunday after Trinity2 (? 1724) Melody: “Es woll’ uns Gott genadig sein” Anon. 1525 (a)The words and melody of the concluding Choral are those of Luther’s version of Psalm lxvii, “Es woll’ uns Gott genädig sein,” published originally in Luther’s Ein weise christlich Mess zuhaltē (Wittenberg, 1524). It is also in Walther’s Geystliche gesangk Buchleyn of that year, but is set there to the melody better known as “Christ unser Herr zum Jordan kam” (see Cantata 7). Along with the melody printed above—which Erk, No. 201, tentatively attributes to Matthaus Greitter (d. c. 1550)—the Hymn was published in the Strassburg Ordnung des Herren Nachtmal (1525) and in the Strassburg Kirchēampt mit lobgsengen (1525). The melody occurs also in Cantata 76, and there are other harmonisations of it in the Choralgesange, Nos. 95, 96. The words of the Choral are the third stanza of the Hymn:
Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 355. Form. Embellished (3 Trombe, Timpani, 3 Ob., Fagotto, Strings, Continuo). Choralgesange, No. 97. (b)Spitta points out1 that about 1730 Bach remodelled the Cantata for use at a Rathswahl service. The Appendix to the Bach-Gesellschaft volume contains the following additional number. It is not in the vocal score. The words are the sixth stanza of Samuel Rodigast’s “Was Gott thut, das ist wohlgethan” and the melody is that of the Hymn (see Cantata 12):
Form. Embellished (Tromba, 3 Ob., Fagotto, Strings, Continuo). Erk, No. 301. [Back to Table of Contents]Cantata LXX.Wachet, betet, betet, wachet2 . Twenty-sixth Sunday after Trinity3 (1716)(a)For the melody of the closing Choral, Part I, Louis Bourgeois’ “Ainsi qu’on oit le cerf,” see Cantata 13. The words of the Choral are the tenth stanza of the Hymn, “Freu’ dich sehr, O meine Seele” (see Cantata 19):
Form. Simple (Tromba, Oboe, Fagotto, Strings, Continuo). Choralgesange, No. 98.  Melody: “Meinen Jesum lass’ ich nicht” ? Andreas Hammerschmidt 1659 
(b)The melody of the concluding Choral of Part II, “Meinen Jesum lass’ ich nicht,” was first published, with Christian Keimann’s Hymn, in Part IV of Andreas Hammerschmidt’s Fest- Bus- und Danck-Lieder, Mit 5 Vocal Stimmen (Zittau, 1659 [1658]). The melody appears there in an elongated form (eleven phrases) owing to the repetition of lines 3, 4, 5, 6, of the stanza, followed by another repetition of line 6. For use as a Hymn tune the melody has several forms. The melody occurs also in Cantatas 124, 154, 157, 163. Bach used it also for the discarded closing Choral of Part I of the “St Matthew Passion” (Choralgesange, No. 247), and there is another harmonisation of it in the Choralgesänge, No. 242. Bach’s version, which has not earlier sanction, is built up of phrases 1-4, 9, 11, of the original (1658) text. In Cantata 124 and in two other harmonisations of the tune in the Choralgesänge, Nos. 242, 247, he substitutes phrase 10 for phrase 9. There is another melody in the Choralgesänge, No. 241, to the same Hymn. It is by Peter Sohren (1676). The words of the Choral are the fifth stanza of Christian Keimann’s Hymn, an acrostic upon the words of the dying Elector Johann Georg of Saxony (d. 1656): “Meinen Jesum lass’ ich nicht.” The first words of stanzas i-v supply these five words, while their last lines repeat the sentence in full. The initial letters of the first five lines of stanza vi stand for: J[ohann] G[eorg] C[hurfürst] Z[u] S[achsen], i.e. Johann Georg Elector of Saxony:
English translations of the Hymn are noted in the Dictionary of Hymnology, p. 614. Form. Embellished (Tromba, Oboe, Fagotto, Strings, Continuo). Choralgesange, No. 243. (c) Melody: “Nun freut euch, lieben Christen g’mein” Anon. 1535 In the second movement of Part II of the Cantata (B.G. xvi. 360), the Bass Recitativo, “Ach, soll nicht dieser grosse Tag,” the Tromba has the melody of Luther’s Advent Hymn, “Nun freut euch, lieben Christen g’mein,” generally known as “Luther’s Hymn,” and also, through its association with Bartholomäus Ringwaldt’s Advent Hymn, as “Es ist gewisslich an der Zeit1 .” The melody, “Nun freut euch, lieben Christen g’mein,” was first published, with Luther’s Hymn, in Klug’s Geistliche Lieder (Wittenberg, 1535 [1529]). It also occurs in the “Christmas Oratorio,” No. 59. There is another harmonisation of it in the Choralgesange, No. 262. Organ Works, N. xviii. 80. Bach’s text is invariable and is found in sixteenth century Hymn books. [Back to Table of Contents]Cantata LXXI.Gott ist mein König. For the Inauguration of the Town Council, Mühlhausen (1708)The Choral melody of the second movement is the 1693 tune, “O Gott, du frommer Gott” (see Cantata 24). The words of the Choral are the sixth stanza of Johann Heermann’s “O Gott, du frommer Gott” (see Cantata 24):
Form. A Tenor “Aria con Corale in Canto” sung by a Soprano, i.e. a Duetto (Organ)2 . [Back to Table of Contents]Cantata LXXII.Alles nur nach Gottes Willen. Third Sunday after the Epiphany (c. 17251 )For the melody of the concluding Choral, “Was mein Gott will, das g’scheh’ allzeit,” see Cantata 65. The words of the Choral are the first stanza of Albrecht Margrave of Brandenburg-Culmbach’s only Hymn, “Was mein Gott will, das g’scheh’ allzeit,” first published as a broadsheet at Nurnberg c. 1554, and in Funff Schone Geistliche Lieder (Dresden, 1556):
English translations of the Hymn are noted in the Dictionary of Hymnology, p. 37. Form. Simple (2 Ob., Strings, Continuo). Choralgesange, No. 344. [Back to Table of Contents]Cantata LXXIII.Herr, wie du willt, so schick’s mit mir. Third Sunday after the Epiphany (c. 1725) Melody: “Wo Gott der Herr nicht bei uns halt” Anon. 1535 (a)The Choral melody of the opening movement, “Wo Gott der Herr nicht bei uns hält,” was first published, with Justus Jonas’ (1493-1555) Hymn bearing that title, in Joseph Klug’s Geistliche Lieder (Wittenberg, 1535 [1529]). The Hymn was most usually sung to the tune “Ach lieben Christen, seid getrost,” but Bach follows Cruger (1709) in associating it with “Who Gott der Herr.” The melody also occurs in Cantatas 114 and 178, and in Cantata D 3 attributed to Bach, “Siehe, es hat überwunden der Lowe.” There are three other harmonisations of the tune in the Choralgesänge, Nos. 383, 385, 388. The words of the Choral are the first stanza of Caspar Bienemann’s (Melissander), “Herr, wie du willt, so schick’s mit mir,” first published in his Betbuchlein (Leipzig, 1582). Bienemann was born at Nürnberg in 1540. He accompanied an Imperial embassy to Greece as interpreter, and there assumed the name Melissander. In 1578 he became pastor and General Superintendent at Altenburg. He died there in 1591. The Hymn was written in 1574, when he was private tutor to the children of Duke Johann Wilhelm of Saxe-Weimar, and was taught as a prayer to the Duchess Maria, then aged three. The initial letters of the three stanzas form an acrostic on her title, “Herzogin zu Sachsen”:
Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 142. Form. Choral Fantasia. The Choral Chorus (S.A.T.B.), Extended in design, is intersected by Recitativo passages for S.T.B. which elaborate the ideas suggested by the Hymn. The Recitativo passages are sung to orchestral ritornelli, always the same, but differing in key (Corno, 2 Ob., Strings, Organ obbligato, Continuo)2 . (b)For the melody of the concluding Choral, “Von Gott will ich nicht lassen,” see Cantata 11. The words of the Choral are the ninth stanza of Ludwig Helmbold’s “Von Gott will ich nicht lässen,” founded on Psalm lxxiii. 23. The Hymn, written during a pestilence at Erfurt in 1563, was first published as a broadsheet in 1563-64 and later in Hundert Christenliche Haussgesang (Nürnberg, 1569). Helmbold was born at Mühlhausen in 1532, was educated at Leipzig and Erfurt, became Dean of the Philosophical Faculty in the latter University, and was crowned a poet by Maximilian II in 1566. He became pastor of St Blasius’ Church, Mühlhausen, in 1586, and Superintendent there. He died in 1598:
English translations of the Hymn are noted in the Dictionary of Hymnology, p. 508. Form. Simple (Corno, 2 Ob., Strings, Continuo). Choralgesange, No. 328. [Back to Table of Contents]Cantata LXXIV.Wer mich liebet, der wird mein Wort halten. Whit Sunday (17351 ) Melody: “Kommt her zu mir, spricht Gottes Sohn” Anon. 1530 The melody of the concluding Choral is an anonymous tune published as a broadsheet, “Ain schons newes Christlichs lyed,” in 1530, with Georg Gruenwald’s (d. 1530) Hymn, “Kommt her zu mir, spricht [sagt] Gottes Sohn.” The melody also occurs in Cantatas 86 and 108. There is earlier authority for Bach’s variation of the opening (1534) and closing (1598) phrases of the melody. The words of the Choral are the second stanza of Paul Gerhardt’s “Gott Vater, sende deinen Geist,” first published in the 1653 (Berlin) edition of Cruger’s Praxis Pietatis Melica, to a melody by Johann Crüger, “Den Herren meine Seel’ erhebt.” Bach follows general use in associating the Hymn with the tune “Kommt her zu mir” (supra):
Form. Simple (Tromba, Ob. da caccia, 2 Ob., Strings, Continuo). Choralgesange, No. 223. [Back to Table of Contents]Cantata LXXV.Die Elenden sollen essen. First Sunday after Trinity1 (1723)(a)The melody of the concluding Choral of Part I is that of Samuel Rodigast’s Hymn, “Was Gott thut, das ist wohlgethan” (see Cantata 12). The words of the Choral are the fifth stanza of that Hymn:
Form. Extended (2 Ob., Strings, Continuo). (b)The Second Part of the Cantata opens with an Orchestral Sinfonia, or Orchestral Choral Fantasia (Tromba, Strings, Continuo), on the melody “Was Gott thut.” Schweitzer1 observes that this is the only occasion on which Bach has given a Choral purely orchestral treatment. The Tromba has the cantus. (c)The words, melody, and form of the Choral concluding the Second Part are identical with those of (a) supra. [Back to Table of Contents]Cantata LXXVI.Die Himmel erzahlen die Ehre Gottes. Second Sunday after Trinity2 (1723)(a)The words and melody of the concluding Choral of Part I are Luther’s “Es woll’ uns Gott genädig sein” (see Cantata 69). The words are the first stanza of the Hymn:
Form. Extended (Tromba, Strings, Continuo). Erk, No. 201. (b)The concluding Choral of Part II is a repetition of (a) supra, the words being the third stanza of Luther’s Hymn:
Form. Extended (Tromba, Strings, Continuo). Erk, No. 201. [Back to Table of Contents]Cantata LXXVII.Du sollst Gott, deinen Herren, lieben. Thirteenth Sunday after Trinity (c. 1725) Melody: “Dies sind die heil’gen selin Gebot’ ” Anon. 1524  Melody: “In Gottes Namen fahren wir” Anon. 1536 (a)The opening Chorus of the Cantata introduces a Choral melody that does not appear elsewhere in the Cantatas, Oratorios, or Motetts. The movement is a Chorus upon the words, “Du sollst Gott, deinen Herren, lieben von ganzem Herzen, von ganzer Seele, von allen Kraften, von ganzem Gemüthe, und deinen Nächsten als dich selbst” (“Thou shalt love the Lord thy God with all thy heart, and with all thy soul, and with all thy strength, and with all thy mind, and thy neighbour as thyself,” St Luke x. 27). As Spitta comments1 , Bach called to mind the continuation of the Scripture text: “On these two commandments hang all the law and the prophets.” He therefore enforces the text by the melody of Luther’s Hymn, “Dies sind die heil’gen zehn Gebot’ ” (“These are the sacred ten commandments”). While the Chorus is worked out in quavers from the first line of the melody, the lesser commandment is stated by the Tromba da tirarsi, which announces the tune in crotchets, while the greater commandment is emphasised by the Organ, treating the melody in minims as a cantus firmus. The melody is an adaptation of the tune of the song, “In Gottes Namen fahren wir.” Reconstructed for Luther’s Hymn, the tune was published both in the Erfurt Enchiridion of 1524 and in Johann Walther’s Geystliche gesangk Buchleyn at Wittenberg in the same year. The reconstruction of the tune may be attributed to Walther. There is a harmonisation of the tune in the Choralgesange, No. 66. Organ Works, N. xv. 103; xvi. 42, 47. Form. Choral Fantasia (Tromba da tirarsi, Strings, Continuo)1 . (b)For the melody of the concluding Choral, “Ach Gott, vom Himmel sieh’ darein,” see Cantata 2. Bach’s ms. lacks a text here2 and the words of the Choral were selected as appropriate by Carl Friedrich Zelter (1758-1833). They are the eighth stanza of the Hymn, “Wenn einer alle Ding verstünd,” published in Das Hannoverische ordentliche, vollstandige Gesangbuch (Lüneburg, 1657), attributed to David Denicke:
Form. Simple4 . Choralgesänge, No. 6. [Back to Table of Contents]Cantata LXXVIII.Jesu, der du meine Seele. Fourteenth Sunday after Trinity (after 1734) Melody: “Wachet, doch, erwacht, thr Schlafer” Anon. 1662 A Choral Cantata, on Johann Rist’s Lenten Hymn, “Jesu, der du meine Seele,” first published in Part I of his Himlischer Lieder (Lüneburg, 1641). The melody of the opening and concluding movements has, from 1663, been known by its association with Rist’s Hymn. In its earliest form it belonged to the secular song, “Daphnis ging fur wenig Tagen,” and is found in association with it in Theobald Grummer’s Des Daphnis aus CimbrienGalathee (Hamburg, 1642). In 1643 it was used for the song, “Ferdinand, du grosser Kaiser.” In the 1662 (Frankfort) edition of Johann Crüger’s Praxis Pietatis Melica the tune is attached to Georg Philipp Harsdorffer’s (1607-58) “Wachet doch, erwacht, ihr Schlafer,” and in Nicolaus Stenger’s Christlich- neuvermehrt und gebessertes Gesangbuch (Erfurt, 1663) it was set to Rist’s Hymn. With that Hymn it has been particularly associated ever since. The melody occurs also in Cantata 105. There are other harmonisations of the tune in the Choralgesange, Nos. 185, 186, 187. For the first half of the tune (lines 1-4) Bach’s text is invariable and follows the Rothenburg Cantor Georg Falck’s Andacht-erweckende Seelen-Cymbeln (1672). For lines 7 and 8 he uses more than one form. In Cantata 78 he follows the Leipzig organist Daniel Vetter’s Musicalische Kirch- und Hauss-Ergotzlichkeit (Part II, Leipzig, 1713). Elsewhere his eighth line follows Telemann (1730). (a)The words of the opening movement are the first stanza of Johann Rist’s Hymn:
Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 966. Form. Choral Fantasia1 (Corno, Flauto, 2 Ob., Strings, Continuo). (b)The words of the concluding Choral are the twelfth stanza of Rist’s Hymn:
Form. Simple (Corno, Flauto, 2 Ob., Strings, Continuo). Choralgesange, No. 1883 . [Back to Table of Contents]Cantata LXXIX.Gott, der Herr, ist Sonn’ und Schild1 . For the Reformation Festival (? 1735) Melody: “Nun danket alle Gott” Johann Cruger 1648 (a)The melody of the third movement is Johann Cruger’s “Nun danket alle Gott,” first published, with Martin Rinkart’s Hymn, in the 1648 (Berlin) edition of the Praxis Pietatis Melica. The tune appears there anonymously; but in the 1653 Cruger-Runge Geistliche Lieder und Psalmen Crüger’s initials are attached to it. It has been conjectured to be an adaptation by Crüger of a melody either by Rinkart, who was a good musician, or Luca Marenzio, a choirmaster at Rome, who died in 1598. The melody occurs also in Cantata 192 and in the third of the “Drei Choräle zu Trauungen” (Choralgesange, No. 258). There is another harmonisation of the tune in the Choralgesänge, No. 257. Organ Works, N. xvii. 40. Bach’s text is invariable. The words of the movement are the first stanza of Martin Rinkart’s Hymn, first published in 1648 (supra). Rinkart was born at Eilenburg in 1586. He became a chorister of St Thomas’ Church, Leipzig, was briefly Cantor at Eisleben, and in 1617 was appointed Archidiaconus at Eilenburg. He died in 1649. His Hymn of Thanksgiving (“Lobund Danklied”) is founded on Ecclesiasticus l. 22-24:
Translations of the Hymn into English are noted in the Dictionary of Hymnology, pp. 963, 1679. Form. Extended (2 Cor., Timpani, 2 Fl., 2 Ob., Strings, Continuo). Choralgesange, No. 259.  Melody: “Nun lasst uns Gott dem Herren” Anon. 1575  Melody: “Nun lasst uns Gott dem Herren” Anon. 1587 (b)The melody of the concluding Choral is that of Ludwig Helmbold’s Grace after Meat, “Nun lasst uns Gott dem Herren,” which was published first in Helmbold’s Geistliche Lieder, den GottseligenChristen zugericht (Muhlhausen, 1575), and repeated in Nicolaus Selnecker’s Christliche Psalmen, Lieder, und Kirchengesenge (Leipzig, 1587). The monotonous melody, which Bach uses (with some modifications introduced by Crüger [1649]), is founded on the one that accompanies the Hymn in Selnecker’s volume. It is clear, however, that Selnecker’s is a variation of the descant melody of the four-part setting of the Hymn in Helmbold’s Geistliche Lieder. The monotony of the tune suggests that the Tenor is the true melody there. Versions of the former, equally monotonous and derived from the 1575 text, are set to the Hymn in other collections between 1575 and 1598. The melody occurs also in Cantatas 165 and 194. It is sometimes quoted as “Wach auf, mein Herz, und singe,” from its association with Paul Gerhardt’s Morning Hymn. The words of the concluding Choral are the eighth stanza of Helmbold’s Hymn:
English translations of the Hymn are noted in the Dictionary of Hymnology, p. 508. Form. Embellished (2 Cor., Timpani, 2 Fl. 2 Ob., Strings, Continuo). Choralgesange, No. 267 [Back to Table of Contents]Cantata LXXX.Ein’ feste Burg ist unser Gott1 . For the Reformation Festival (17302 ) Melody: “Ein’ feste Burg” Martin Luther 1535 A Choral Cantata3 , on Luther’s Hymn, “Ein’ feste Burg,” a free version of Psalm xlvi, probably written for the Diet of Speyer in 1529, though an earlier origin has been suggested. It was first published by Klug in 1535 [1529] (infra). The melody, which dominates the Cantata and forms the subject of four of its movements, is quoted above from Joseph Klug’s Geistliche Lieder zu Wittemberg (Wittenberg, 1535), where it appears in association with Luther’s Hymn. Both tune and words, however, are found in Jobst Gutknecht’s Kirchē gesenge, mit vil schonen Psalmen unnd Melodey (Nürnberg, 1531), and in Klug’s collection of Luther’s Hymns. That the melody in its present form is by Luther is generally agreed; but the extent to which he was indebted to Gregorian material is in dispute. The melody does not occur elsewhere in the Cantatas, Oratorios, or Motetts. There are two harmonisations of it in the Choralgesange, Nos. 74, 75. Organ Works, N. xviii. 30. (a)The words of the opening movement are the first stanza of Luther’s Hymn:
Translations of the Hymn into English are noted in the Dictionary of Hymnology, pp. 324-325, 1561, 1631, 1729. Form. Choral Fantasia. The cantus is treated freely and fugally (3 Trombe, Timpani, 2 Ob., Strings, Organ1 ). (b)The words of the second movement are the second stanza of Luther’s Hymn:
Form. Marked “Aria,” the movement is a Duetto for Bass and Soprano, the latter singing a florid and free version of the Choral melody (Oboe, Strings, Continuo). (c)The words of the fifth movement are the third stanza of Luther’s Hymn:
Form. A Choral Fantasia, in form an Unison Chorus (3 Trombe, Timpani, 2 Ob. d’amore, Strings, Continuo)3 . (d)The words of the concluding movement are the fourth stanza of Luther’s Hymn:
Form. Simple (Continuo)2 . Choralgesange, No. 76. [Back to Table of Contents]Cantata LXXXI.Jesus schlaft, was soll ich hoffen3 ? Fourth Sunday after the Epiphany (1724)The melody of the concluding Choral is Johann Cruger’s “Jesu, meine Freude” (see Cantata 64). The words are the second stanza of Johann Franck’s “Jesu, meine Freude” (see Cantata 64):
Form. Simple (2 Ob. d’amore, Strings, Continuo). Choralgesänge, No. 197. [Back to Table of Contents]Cantata LXXXIII.Erfreute Zeit im neuen Bunde. Purification of the B.V.M. (? 1724) Melody: “Mit Fried’ und Freud’ ich fahr’ dahin” ? Martin Luther 1524* The melody and words of the concluding Choral are Luther’s “Mit Fried’ und Freud’ ich fahr’ dahin,” a free rendering of the “Nunc Dimittis,” first published, with the melody, in Johann Walther’s Geystliche gesangk Buchleyn (Wittenberg, 1524). With considerable probability the tune may be attributed to Luther. The melody occurs also in Cantatas 95, 106, and 125. There is a harmonisation of it in the Choralgesänge, No. 249. Organ Works, N. xv. 50. The words of the Choral are the fourth stanza of Luther’s Hymn, being the appointed Hymn for the Festival:
Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 760. Form. Simple (Corno, 2 Ob., Strings, Continuo). Choralgesange, No. 250. In the second movement (B.G. xx. (i) 64), marked “Intonazione (Nunc Dimittis) e Recitativo,” the Bass declaims the words, “Herr, nun lässest du deinen Diener in Friede fahren, wie du gesaget hast,” to the old Intonation of the “Nunc Dimittis.” [Back to Table of Contents]Cantata LXXXIV.Ich bin vergnügt mit meinem Glücke. Septuagesima Sunday (1731 or 17321 )The melody of the concluding Choral is Georg Neumark’s “Wer nur den lieben Gott lasst walten” (see Cantata 21). The words of the Choral are the twelfth stanza of Emilie Juliane Countess of Schwarzburg-Rudolstadt’s funerary Hymn, “Wer weiss, wie nahe mir mein Ende” (see Cantata 27):
Form. Simple (Oboe, Strings, Continuo). Choralgesange, No. 373. [Back to Table of Contents]Cantata LXXXV.Ich bin ein guter Hirt1 . Second Sunday after Easter (“Misericordias Domini”) (1735) Melody: “Allein Gott in der Hoh’ sei Ehr’ ” Nicolaus Decius 1539  Melody: “Gloria in excelsis Deo” 15452 (a)The melody of the third movement is Nicolaus Decius’ (or Hovesch) “Allein Gott in der Höh’ sei Ehr’,” first published, with Decius’ rendering of the “Gloria in excelsis,” in Valentin Schumann’s Geistliche Lieder auffs new gebessert und gemehrt (Leipzig, 1539). The melody was formed by putting together phrases 3-4, 7-8, 11 of the “Gloria paschalis.” Its association with Becker’s Hymn (infra) is very general. The melody occurs also in Cantatas 104, 112, and 128. There is a harmonisation of it in the Choralgesänge, No. 12. Bach’s version shows slight variations of the original. For the second and third notes following the middle double bar there is early (1545) authority. For his version of the final phrase of the tune in the concluding Choral of Cantata 112 there appears to be none. Organ Works, N. xvi. 39, 40*, 41; xvii. 56, 60, 66; xviii. 4, 5, 7, 11. The words of the third movement are the first stanza of Cornelius Becker’s “Der Herr ist mein getreuer Hirt,” a translation of Psalm xxiii, which appeared first in Seth Calvisius’ Harmonia Cantionum ecclesiasticarum (Leipzig, 1598), and thence in Becker’s Der Psalter Dauids Gesangweis (Leipzig, 1602). Becker was born at Leipzig in 1561 and became one of the masters in St Thomas’ School there. In 1594 he was appointed pastor of St Nicolas’ Church, Leipzig, and subsequently Professor of Theology in the University. He died in 1604:
A translation of the Hymn is noted in the Dictionary of Hymnology, p. 121. Form. Soprano Unison Choral, in the form of a Choral Prelude upon the melody (2 Ob., Continuo).  Melody: “Ist Gott mein Schild und Helfersmann” Anon. 1694 (b)The melody of the concluding Choral, “Ist Gott mein Schild und Helfersmann,” was published, with Homburg’s Hymn (infra), in Hundert ahnmuthig- und sonderbahr geistlicher Arien (Dresden, 1694), a collection from which few melodies have passed into common use. The melody has been attributed incorrectly to Bach. He has not used it elsewhere and material is not available to enable the originality of his variations of the tune to be tested. The words of the concluding Choral are the fourth stanza of Ernst Christoph Homburg’s “Ist Gott mein Schild und Helfersmann,” or “Gott ist mein Schild und Helfersmann,” first published, with a different melody, in Part I of Homburg’s Geistlicher Lieder (Naumburg, 1659 [1658]). Homburg was born near Eisenach in 1605. He practised as a lawyer at Naumburg, in Saxony, was regarded by his contemporaries as a poet of high rank, and was admitted a member of Rist’s Order of Elbe Swans. He died at Naumburg in 1681:
Form. Simple (2 Ob., Strings, Continuo). Choralgesänge, No. 216. [Back to Table of Contents]Cantata LXXXVI.Wahrlich, wahrlich, ich sage euch. Fifth Sunday after Easter (“Rogate”) (c. 1725)(a)The melody of the third movement of the Cantata is Georg Grüenwald’s “Kommt her zu mir, spricht Gottes Sohn” (see Cantata 74). The words of the movement are the sixteenth stanza of Grüenwald’s Hymn, first published, with the tune, as a broadsheet, entitled “Ain schons newes Christlichs lyed” (1530). Grüenwald, an Anabaptist shoemaker, was burnt at the stake as a heretic at Kufstein, in Tyrol, in 1530:
English translations of the Hymn are noted in the Dictionary of Hymnology, p. 472. Form. Soprano Unison Choral (2 Ob., Continuo)7 (b)The concluding Choral is set to the words and melody of Paul Speratus’ “Es ist das Heil uns kommen her” (see Cantata 9). The words are the eleventh stanza of the Hymn:
Form. Simple (Continuo). Choralgesänge, No. 86. [Back to Table of Contents]Cantata LXXXVII.Bisher habt ihr nichts gebeten in meinem Namen. Fifth Sunday after Easter (“Rogate”) (c. 1735)The melody of the concluding Choral is Johann Crüger’s “Jesu, meine Freude” (see Cantata 64). The words of the Choral are the ninth stanza of Heinrich Müller’s “Selig ist die Seele.” The Hymn was first published, to a melody of its own, but with the superscription, “Mel.: Jesu, meine Freude,” in Müller’s Geistliche Seelen Musik (Rostock, 1659). Müller was born at Lübeck in 1631, and from 1653 held various positions at Rostock, as Archdeacon, Professor in the University, pastor of two churches, and Superintendent. He died in 1675:
Form. Simple (Oboe, 2 Ob. da caccia, Strings, Continuo). Choralgesänge, No. 201. [Back to Table of Contents]Cantata LXXXVIII.Siehe, ich will viel Fischer aussenden1 . Fifth Sunday after Trinity (1732)The melody and words of the concluding Choral are Georg Neumark’s “Wer nur den lieben Gott lässt walten” (see Cantata 21). The words are the seventh stanza of the Hymn:
Form. Simple (2 Ob. d’amore, Taille2 , Strings, Continuo). Choralgesange, No. 368. [Back to Table of Contents]Cantata LXXXIX.Was soll ich aus dir machen, Ephraim? Twenty-second Sunday after Trinity (c. 1730)The concluding Choral is set to the melody, “Auf meinen lieben Gott” (see Cantata 5). The words of the Choral are the seventh stanza of Johann Heermann’s Lenten Hymn, “Wo soll ich fliehen hin?” (see Cantata 5):
Form. Simple (Corno, 2 Ob., Strings, Continuo). Choralgesange, No. 26. [Back to Table of Contents]Cantata XC.Es reifet euch ein schrecklich Ende. Twenty-fifth Sunday after Trinity (c. 1740) Melody: “Vater unser im Himmelreich” Anon. 1539 The melody, “Vater unser im Himmelreich,” to which the concluding Choral is set, appears first, in association with Luther’s versification of the Lord’s Prayer, in Valentin Schumann’s Geistliche lieder auffs new gebessert (Leipzig, 1539). The melody is associated with Moller’s Hymn (infra) in general use. The melody also occurs in Cantatas 101 and 102, and in the “St John Passion,” No. 5. There is a harmonisation of the tune in the Choralgesange, No. 316, which Bach used for the earlier performances of the “St John Passion.” It is noticeable that in that work he keeps to the 1539 text of the melody, whereas in the three Cantatas he substitutes a B natural for G sharp at the thirteenth note of the second line (supra) of the 1539 text. Organ Works, N. xv. 105; xvi. 53, 61; xix. 12. The words of the concluding Choral are the seventh stanza of Martin Moller’s “Nimm von uns, Herr, du treuer Gott,” a free translation of the Latin “Aufer immensam, Deus, aufer iram,” first published (to no specified tune) in Moller’s Meditationes Sanctorum Patrum (Görlitz, 1584):
English translations of the Hymn are noted in the Dictionary of Hymnology, p. 92. Form. Simple (Continuo). Choralgesänge, No. 319. [Back to Table of Contents]Cantata XCI.Gelobet seist du, Jesu Christ. Christmas Day (c. 1740)A Choral Cantata, on Luther’s Christmas Hymn, “Gelobet seist du, Jesu Christ” (see Cantata 64). The melody of the three Choral movements of the Cantata is that of the Hymn (see Cantata 64). (a)The words of the opening movement are the first stanza of the Hymn:
Form. Choral Fantasia (2 Cor., Timpani, 3 Ob., Strings, Continuo). (b)The words of the Choral in the second movement are the second stanza of Luther’s Hymn:
Form. “Recitativ und Choral” for Soprano (Continuo)1 . (c)The words of the concluding Choral are the seventh stanza of Luther’s Hymn:
Form. Embellished (2 Cor., Timpani, 3 Ob., Strings, Continuo). Choralgesange, No. 109. [Back to Table of Contents]Cantata XCII.Ich hab’ in Gottes Herz und Sinn. Septuagesima Sunday (c. 1740)A Choral Cantata, on Paul Gerhardt’s Hymn, “Ich hab’ in Gottes Herz und Sinn” (see Cantata 65). The melody of the five Choral movements is the anonymous “Was mein Gott will, das g’scheh’ allzeit,” or “Il me souffit de tous mes maulx” (see Cantata 65). Gerhardt’s Hymn was published to the tune in 1647. (a)The words of the opening movement are the first stanza of Gerhardt’s Hymn:
Translations of the Hymn are noted in the Dictionary of Hymnology, p. 412. Form. Choral Fantasia (2 Ob. d’amore, Strings, Continuo). (b)The Choral words in the second movement are the second stanza of Gerhardt’s Hymn:
Form. “Recitativ und Choral” for Bass (Continuo)1 . (c)The words of the fourth movement are the fifth stanza of Gerhardt’s Hymn:
Form. An Alto Unison Choral (2 Ob. d’amore, Continuo). (d)The Choral words of the seventh movement are the tenth stanza of Gerhardt’s Hymn:
Form. “Choral und Recitativ” (S.A.T.B.). The movement, intersected by Recitativo passages for all the vocal parts, is of the Extended Dialogus type (Continuo). (e)The words of the concluding Choral are the twelfth stanza of Gerhardt’s Hymn:
Form. Simple (2 Ob. d’amore, Strings, Continuo). Choralgesänge, No. 347. [Back to Table of Contents]Cantata XCIII.Wer nur den lieben Gott lässt walten2 . Fifth Sunday after Trinity (? 1728)A Choral Cantata3 , on Georg Neumark’s consolatory Hymn, “Wer nur den lieben Gott” (see Cantata 21). All its stanzas (seven) are introduced, but in some cases are subjected to considerable alteration. As in Cantata 4, “Christ lag in Todesbanden,” a single Choral melody, Georg Neumark’s “Wer nur den lieben Gott” (see Cantata 21), dominates the present work. But its use is not restricted, as in Cantata 4, to the regular Church Choral forms. Certain numbers, for instance, the fourth and seventh, present the melody clearly. Elsewhere it serves merely as the “motive and incentive,” without being the positive cantus firmus1 . (a)The words of the opening movement are the first stanza of Neumark’s Hymn:
Form. Choral Fantasia (2 Ob., Strings, Continuo)5 . (b)In the second movement the second stanza of Neumark’s Hymn, with important modifications of two of its lines, is involved in the “madrigal” text of the Recitativo:
Form. “Recitativ und Choral” for Bass3 (Continuo)4 . (c)The text of the third stanza of Neumark’s Hymn is dealt with very freely in the third movement. The Bach-Picander stanza reads:
The actual text of Neumark’s third stanza is as follows:
Form. A Tenor Aria, suggested by the Choral melody (Strings, Continuo). (d)The words of the fourth movement are the fourth stanza of Neumark’s Hymn:
Form. “Arie (Duett) und Choral” for Soprano and Alto. The Violins and Violas in unison have the melody (Strings, Continuo)1 . (e)The Choral words of the fifth movement are the fifth stanza of Neumark’s Hymn:
Form. “Recitativ und Choral” for Tenor (Continuo)2 . (f)The text of the sixth movement deals very freely with the sixth stanza of Neumark’s Hymn. Similarly, only fragments of the tune appear, the fifth and sixth lines of the melody. The Bach-Picander text is as follows:
The actual text of Neumark’s sixth stanza reads:
Form. Soprano Aria, with fragments of the melody (Oboe, Continuo). (g)The words of the concluding Choral are the seventh stanza of Neumark’s Hymn:
Form. Simple (2 Ob., Strings, Continuo). Choralgesange, No. 369. [Back to Table of Contents]Cantata XCIV.Was frag ich nach der Welt. Ninth Sunday after Trinity (? 1735)A Choral Cantata, on Georg Michael Pfefferkorn’s Hymn, “Was frag ich nach der Welt” (see Cantata 64). The melody of the Choral movements is “Die Wollust dieser Welt,” or “O Gott, du frommer Gott” (1679) (see Cantata 45). (a)The words of the opening movement are the first stanza of Pfefferkorn’s Hymn:
Form. Choral Fantasia (Flauto, Strings, Organ, Continuo)1 . (b)The Choral words of the third movement are the third stanza of Pfefferkorn’s Hymn:
Form. “Recitativ und Choral” for Tenor (2 Ob., Organ, Continuo)2 . (c)The Choral words of the fifth movement are the fifth stanza of Pfefferkorn’s Hymn:
Form. “Recitativ und Choral” for Bass (Organ and Continuo)1 . (d)The words of the concluding Choral are the seventh and eighth stanzas of Pfefferkorn’s Hymn:
Form. Simple (Flauto, 2 Ob., Strings, Organ, Continuo). Choralgesange, No. 281. [Back to Table of Contents]Cantata XCV.Christus, der ist mein Leben. Sixteenth Sunday after Trinity (? 1732) Melody: “Christus, der ist mein Leben” Melchior Vulpius 1609 (a)The first of the two Chorals in the opening movement is the anonymous funerary Hymn, “Christus, der ist mein Leben,” the oldest accessible form of which is in Melchior Vulpius’ Ein schon geistlich Gesangbuch (Jena, 1609), where it is set to Vulpius’ tune. It has been attributed both to Simon Graf and Anna Countess of Stolberg. The melody is not found elsewhere in the Cantatas or Motetts or Oratorios. There are harmonisations of it in the Choralgesange, Nos. 46, 47. Bach’s treatment of the third line of the tune follows the 1662 (Frankfort) edition of the Praxis Pietatis Melica. His treatment of the last line varies: sometimes he uses the 1609 form, and sometimes (Choralgesange, No. 46) the 1662 form. The words are the first stanza of the Hymn:
Translations of the Hymn are noted in the Dictionary of Hymnology, p. 233. The words of the second Choral in the first movement are the first stanza of Luther’s Hymn, “Mit Fried’ und Freud’ ich fahr’ dahin.” The melody also is that of the Hymn (see Cantata 83 for Hymn and melody):
Form. The two Choral (S.A.T.B.) sections, Extended in form, are separated by ritornelli, partly orchestral, partly vocal (Tenor Recitativo) (Corno, 2 Ob. d’amore, 2 Ob., Strings, Continuo)3 .  Melody: “Valet will ich dir geben” Melchior Teschner 1614 (b)The Choral in the second movement is Valerius Herberger’s funerary Hymn, “Valet will ich dir geben,” first published, words and melody, as a broadsheet at Leipzig in 16141 . The melody was composed by Melchior Teschner and bears a close resemblance to the tune “Sellenger’s Round.” There is another harmonisation of it in the Choralgesange, No. 314. Early (1648) authority exists for Bach’s change of the third note before the first double bar, and also (1668) for the changed sixth note from the end of the tune. “St John Passion,” No. 28. Organ Works, N. xix. 2, 7. The words of the Choral are the first stanza of the Hymn:
Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 511. Form. “Recitativ und Choral” for Soprano. The Unison Choral follows a short Recitativo of twelve bars (2 Ob. d’amore (unis.), Continuo). (c)The melody and words of the concluding Choral are those of Nicolaus Herman’s funerary Hymn, “Wenn mein Stündlein vorhanden ist” (see Cantata 15). The words are the fourth stanza of the Hymn:
Form. Embellished (Corno, 2 Ob. d’amore, Strings, Continuo). Choralgesänge, No. 356. [Back to Table of Contents]Cantata XCVI.Herr Christ, der ein’ge Gottes-Sohn. Eighteenth Sunday after Trinity (c. 1740)A Choral Cantata, on Elisabethe Cruciger’s Christmas Hymn, “Herr Christ, der einig’ Gott’s Sohn” (see Cantata 22). The melody of the opening and concluding movements is that of the Hymn (see Cantata 22). (a)The words of the opening movement are the first stanza of the Hymn:
Form. Choral Fantasia (Corno, Trombone, Flauto piccolo, 2 Ob., Strings, Continuo). The cantus firmus is with the Altos. (b)The words of the concluding Choral are the fifth stanza of the Hymn:
Form. Simple (Corno, 2 Ob., Strings, Continuo). Choralgesänge, No. 128. [Back to Table of Contents]Cantata XCVII.In allen meinen Thaten (17342 )A Choral Cantata, on Paul Flemming’s Hymn, “In allen meinen Thaten” (see Cantata 13). The melody of the two Choral movements of the Cantata is Heinrich Isaak’s “O Welt, ich muss dich lassen” (see Cantata 13), styled in the B.G. Score “Nun ruhen alle Walder.” The latter (Paul Gerhardt’s) Hymn was first published in 1647, with the direction: “Nach der Melod. O Welt, ich muss dich lassen.” Isaak’s melody has been attached to Johann Hesse’s “O Welt” since 15983 . From 1670, at least, the tune is associated with Paul Flemming’s “In allen meinen Thaten.” (a)The words of the opening movement are the first stanza of Paul Flemming’s Hymn:
Form. Choral Fantasia (2 Ob., Fagotti, Strings (including Violone), Organ). (b)The words of the concluding Choral are the fifteenth stanza of Flemming’s Hymn:
Form. Embellished (2 Ob., Strings, Organ, Continuo). Choralgesange, No. 297. [Back to Table of Contents]Cantata XCVIII.Was Gott thut, das ist wohlgethan. Twenty-first Sunday after Trinity (c. 1732)The words and melody of the opening movement are from Samuel Rodigast’s Hymn, “Was Gott thut, das ist wohlgethan” (see Cantata 12). The words are the first stanza of the Hymn:
Form. Choral Fantasia (2 Ob., Taille2 , Strings, Continuo). [Back to Table of Contents]Cantata XCIX.Was Gott thut, das ist wohlgethan. Fifteenth Sunday after Trinity (c. 1733)A Choral Cantata3 , on Samuel Rodigast’s Hymn, “Was Gott thut, das ist wohlgethan.” The melody of the first and last movements is that of the Hymn (see Cantata 12). (a)The words of the first movement are the first stanza of the Hymn:
Form. Choral Fantasia (Corno, Flauto, Oboe d’amore, Strings, Continuo). (b)The words of the concluding Choral are the sixth stanza of the Hymn:
Form. Simple (Corno, Flauto, Oboe d’amore, Strings, Continuo). Choralgesänge, No. 341. [Back to Table of Contents]Cantata C.Was Gott thut, das ist wohlgethan (c. 1735)1A Choral Cantata, on Samuel Rodigast’s Hymn, “Was Gott thut, das ist wohlgethan.” The melody of the first and last movements is that of the Hymn (see Cantata 12). (a)The words of the first movement are the first stanza of the Hymn:
Form. Choral Fantasia (2 Cor., Timpani, Flauto, Oboe d’amore, Strings, Organ, Continuo). (b)The words of the concluding Choral are the sixth stanza of the Hymn:
Form. Extended (2 Cor., Timpani, Flauto, Ob. d’amore, Strings, Organ, Continuo). [Back to Table of Contents]Cantata CI.Nimm von uns, Herr, du treuer Gott. Tenth Sunday after Trinity (c. 1740)A Choral Cantata, on Georg Moller’s Hymn, “Nimm von uns, Herr, du treuer Gott” (see Cantata 90). As in Cantatas 4 and 93, where Bach employs a single Hymn as his text, this also is dominated by one melody throughout its Choral movements, the anonymous “Vater unser im Himmelreich” (see Cantata 90). (a)The words of the opening movement are the first stanza of Moller’s Hymn:
Form. Choral Fantasia (Cornetto, 3 Trombones, Flauto, 2 Ob., Taille2 , Strings, Continuo3 ). (b)The Choral words of the third movement are the third stanza of the Hymn:
Form. “Recitativ und Choral” for Soprano (Continuo)1 . (c)The words of the fourth movement are a paraphrase of the fourth stanza of Moller’s Hymn:
The actual text of Moller’s fourth stanza is as follows:
Form. A Bass Aria, with snatches of the melody (2 Ob., Taille, Continuo)1 . (d)The Choral words of the fifth movement are the fifth stanza of Moller’s Hymn:
Form. “Recitativ und Choral” for Tenor (Continuo)4 . (e)The words of the sixth movement are a paraphrase of the sixth stanza of Moller’s Hymn:
The actual text of Moller’s sixth stanza is as follows:
Form. “Arie (Duett)” for Soprano and Alto, “mit Benutzung der Choral-Melodie” (Flauto, Ob. da caccia, Continuo). (f)The words of the concluding Choral are the seventh stanza of Moller’s Hymn:
Form. Embellished (Cornetto, 3 Trombones, Flauto, 2 Ob., Taille, Strings, Continuo). Choralgesange, No. 318. [Back to Table of Contents]Cantata CII.Herr, deine Augen sehen nach dem Glauben. Tenth Sunday after Trinity (? 1731)The melody of the concluding Choral is the anonymous “Vater unser im Himmelreich” (see Cantata 90). The words of the Choral are the sixth and seventh stanzas of Johann Heermann’s Lenten Hymn, “So wahr ich lebe, spricht dein Gott,” first published in his Devoti Musica Cordis (Leipzig, 1630), to the melody “Vater unser” (supra):
Translations of the Hymn are noted in the Dictionary of Hymnology, p. 1065. Form. Simple (Flauto, 2 Ob., Strings, Continuo). Choralgesange, No. 320. [Back to Table of Contents]Cantata CIII.Ihr werdet weinen und heulen. Third Sunday after Easter (“Jubilate”) (? 1735)The melody of the concluding Choral is the anonymous “Was mein Gott will, das g’scheh’ allzeit” (see Cantata 65). The words of the concluding Choral are the ninth stanza of Paul Gerhardt’s Hymn, “Barmherzger Vater, hochster Gott,” first published in the Berlin (1653) edition of Johann Cruger’s Praxis Pietatis Melica, to the melody “Durch Adams Fall ist ganz verderbt,” to which it is generally set in the Hymn books:
Form. Simple (Tromba, Flauto, 2 Ob. d’amore, Strings, Continuo). Choralgesänge, No. 348. [Back to Table of Contents]Cantata CIV.Du Hirte Israel, hore2 . Second Sunday after Easter (“Misericordias Domini”) (c. 1725)The melody of the concluding Choral is Nicolaus Decius’ “Allein Gott in der Hoh’ sei Ehr’ ” (see Cantata 85). The words of the Choral are the first stanza of Cornelius Becker’s Hymn, “Der Herr ist mein getreuer Hirt” (see Cantata 85):
Form. Embellished (2 Ob., Taille1 , Strings, Continuo). Choralgesänge, No. 13. [Back to Table of Contents]Cantata CV.Herr, gehe nicht in’s Gericht. Ninth Sunday after Trinity (c. 1725)The melody of the concluding Choral is the anonymous “Wachet, doch, erwacht, ihr Schläfer” (see Cantata 78). The words of the Choral are the eleventh stanza of Johann Rist’s Lenten Hymn, “Jesu, der du meine Seele” (see Cantata 78):
Form. Extended (2 Corni, 2 Ob., Viola3 , Continuo). [Back to Table of Contents]Cantata CVI.Gottes Zeit ist die allerbeste Zeit1 . “Actus Tragicus2 ” (1711) Melody: “Ich weiss mir ein Roslein hübsch und fein” Anon. 1589  Melody: “Ich hab’ mein Sach’ Gott heimgestellt” Anon. 1609 (a)Into the opening movement Bach introduces a melody which he has not employed elsewhere in the Cantatas, Motetts, or Oratorios. It is found in Johann Rhau’s Gesangbuch (Frankfort a. Main, 1589) as the Tenor in a four-part setting of the secular song, “Ich weiss mir ein Roslein hübsch und fein,” and becomes the melody of the Hymn “Ich hab’ mein Sach’ Gott heimgestellt” in Melchior Vulpius’ Ein schön geistlich Gesangbuch (Jena, 1609). Bach uses it in the orchestral accompaniment of this movement. The first line of the melody is identical with the 1565 tune, “Warum betrübst du” (see Cantata 47). The 1589 descant melody was appropriated to the same Hymn in 1598 and is used by Bach in Choralgesange, No. 182; Organ Works, N. xviii. 54, 58. (b)The words and melody of the Choral in the third movement are from Luther’s version of the “Nunc Dimittis,” “Mit Fried’ und Freud’ ich fahr’ dahin” (see Cantata 83). The words are the first stanza of the Hymn:
Form. A Dialogus for Alto and Bass, the Alto having the melody (2 Viole da gamba, Continuo). (c)The melody of the concluding Choral is Seth Calvisius’ “In dich hab’ ich gehoffet, Herr” (see Cantata 52). The words are the seventh stanza of Adam Reissner’s Hymn, “In dich hab’ ich gehoffet, Herr” (see Cantata 52):
Form. Choral Fantasia (2 Fl., 2 Viole da gamba, Continuo)2 . [Back to Table of Contents]Cantata CVII.Was willst du dich betrüben. Seventh Sunday after Trinity (1735) Melody: “Was willst du dich betrüben” Anon. 1704 A Choral Cantata, on Johann Heermann’s Hymn, “Was willst du dich betrüben,” first published, to the melody, “Von Gott will ich nicht lassen,” in his Devoti Musica Cordis (Leipzig, 1630). In Freylinghausen’s Gesangbuch (1704 [1703]) the Hymn is set to a tune obviously derived from that melody. Bach uses the latter in the first and last movements of the Cantata (see Cantata 11). (a)The words of the opening movement are the first stanza of Heermann’s Hymn:
Form. Choral Fantasia (Corno da caccia, 2 Fl., 2 Ob. d’amore, Strings, Organ, Continuo). (b)The words of the closing Choral are the fourteenth stanza of David Denicke’s (?) Hymn, “Ich will zu aller Stunde,” first published in the New Ordentlich Gesang-Buch (Hanover, 1646), and set there, as here, to the tune “Von Gott will ich nicht lassen” (see Cantata 11)3 :
Form. Extended (Corno da caccia, 2 Fl., 2 Ob. d’amore, Strings, Organ, Continuo). [Back to Table of Contents]Cantata CVIII.Es ist euch gut, dass ich hingehe. Fourth Sunday after Easter (“Cantate”) (? 1735)The melody of the concluding Choral is the anonymous “Kommt her zu mir, spricht Gottes Sohn” (see Cantata 74). The words of the Choral are the tenth stanza of Paul Gerhardt’s Hymn, “Gott Vater, sende deinen Geist” (see Cantata 74). The stanza appeared first in a new version of the Hymn in Gerhardt’s Geistliche Andachten (Berlin, 1667):
Form. Simple (2 Ob. d’amore, Strings, Continuo). Choralgesange, No. 224. [Back to Table of Contents]Cantata CIX.Ich glaube, lieber Herr, hilf meinem Unglauben. Twenty-first Sunday after Trinity (c. 1731)The melody and words of the concluding Choral are Lazarus Spengler’s “Durch Adams Fall ist ganz verderbt” (see Cantata 18). The words are the seventh stanza of Spengler’s Hymn:
Form. Choral Fantasia (Corno da caccia, 2 Ob., Strings, Continuo). [Back to Table of Contents]Cantata CX.Unser Mund sei voll Lachens. Christmas Day2 (c. or after 1734)The words and melody of the concluding Choral are from Caspar Fuger’s Christmas Hymn, “Wir Christenleut’ ” (see Cantata 40). The words are the fifth stanza of Fuger’s Hymn:
Form. Simple (Tromba, 2 Fl., 2 Ob., Oboe da caccia, Strings, Organ, Continuo). Choralgesänge, No. 380. [Back to Table of Contents]Cantata CXI.Was mein Gott will, das g’scheh’ allzeit. Third Sunday after the Epiphany (c. 1740)A Choral Cantata, on Albrecht Margrave of Brandenburg-Culmbach’s Hymn, “Was mein Gott will, das g’scheh’ allzeit” (see Cantata 72). The melody of the opening and concluding movements is that of the Margrave’s Hymn (see Cantata 65). (a)The words of the opening movement are the first stanza of the Hymn:
Form. Choral Fantasia3 (2 Ob., Strings, Continuo). (b)The words of the concluding Choral are the fourth stanza of the Hymn:
Form. Simple (2 Ob., Strings, Continuo). Choralgesänge, No. 345. [Back to Table of Contents]Cantata CXII.Der Herr ist mein getreuer Hirt3 . Second Sunday after Easter (“Misericordias Domini”) (c. 1731)A Choral Cantata, on Wolfgang Meusel’s (Musculus) version of Psalm xxiii, “Der Herr ist mein getreuer Hirt,” first published in the Augsburg Gesangbuch of 1530 or 1531, and again in the edition of 1533. Meusel was born at Dieuze, in Lorraine, in 1497. In 1512 he entered the Benedictine monastery at Lixheim, near Saarburg. He embraced Lutheranism, and in 1537 became chief pastor of the Cathedral Church of Augsburg. In 1549 he settled at Bern as Professor of Theology, and died there in 1563. The melody of the opening and concluding movements is Nicolaus Decius’ “Allein Gott in der Hoh’ sei Ehr’ ” (see Cantata 85), to which Meusel’s Hymn generally was sung. (a)The words of the opening movement are the first stanza of Meusel’s Hymn:
Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 732. Form. Choral Fantasia (2 Cor., 2 Ob. d’amore, Strings, Continuo). (b)The words of the concluding Choral are the fifth stanza of Meusel’s Hymn:
Form. Embellished (2 Cor., 2 Ob. d’amore, Strings, Continuo). Choralgesange, No. 14. [Back to Table of Contents]Cantata CXIII.Herr Jesu Christ, du hochstes Gut. Eleventh Sunday after Trinity (c. 1740)A Choral Cantata on Bartholomaus Ringwaldt’s Lenten Hymn, “Herr Jesu Christ, du hochstes Gut,” published in his Christliche Warnung des Trewen Eckarts (Frankfort a. Oder, 1588). Ringwaldt was born at Frankfort a. Oder in 1532. In 1566 he became pastor at Langfeld, or Langenfeld, near Sonnenburg, in Brandenburg, and died there c. 1600. He was one of the most prolific Hymn writers of the sixteenth century. The melody, which Bach uses directly or by suggestion throughout the Cantata, is that usually associated with Ringwaldt’s Hymn (see Cantata 48). (a)The words of the first movement are the first stanza of Ringwaldt’s Hymn:
English translations of the Hymn are noted in the Dictionary of Hymnology, p. 962. Form. Choral Fantasia (2 Ob., Strings, Continuo). The melody is treated freely2 . (b)The words of the second movement are the second stanza of the Hymn:
Form. An Alto Unison Choral (“Violini all’ unisono,” Continuo). (c)The Choral words of the fourth movement are the fourth stanza of the Hymn:
Form. “Recitativ” and Choral for Bass6 (Continuo7 ). (d)The words of the seventh movement are a paraphrase of the seventh stanza of the Hymn:
The actual text of the seventh stanza is as follows:
Form. An “Arie (Duett)” for Soprano and Alto, built upon the first and last lines of the melody (Continuo). (e)The words of the concluding Choral are the eighth stanza of Ringwaldt’s Hymn:
Form. Simple2 . Choralgesange, No. 142. [Back to Table of Contents]Cantata CXIV.Ach, lieben Christen, seid getrost. Seventeenth Sunday after Trinity (c. 1740)A Choral Cantata, on Johannes Gigas’, or Heune’s, Hymn, “Ach, lieben Christen, seid getrost,” first published in a collection of Geistliche Lieder (Frankfort a. Oder, 1561). Johannes G. Gigas was born at Nordhausen in 1514. In 1543 he was appointed first Rector of the Fürstlichen Land-Schule at Pforta, and later served as pastor at Freystadt and Schweidnitz. He died at the latter place in 1581. The melody which Bach uses throughout the Choral movements is the anonymous “Wo Gott der Herr nicht bei uns hält” (see Cantata 73), to which the Hymn was set in 1561. (a)The words of the first movement are the first stanza of Gigas’ Hymn:
Form. Choral Fantasia (Corno, 2 Ob., Strings, Continuo). (b)The words of the fourth movement are the third stanza of Gigas’ Hymn:
Form. A Soprano Unison Choral (Continuo). (c)The words of the concluding Choral are the sixth stanza of Gigas’ Hymn:
Form. Simple (Corno, 2 Ob., Strings, Continuo). Choralgesange, No. 386. [Back to Table of Contents]Cantata CXV.Mache dich, mein Geist, bereit1 . Twenty-second Sunday after Trinity (c. 1740) Melody: “Straf mich nicht in deinem Zorn” Anon. 1694 A Choral Cantata, on Johann Burchard Freystein’s Hymn, “Mache dich, mein Geist, bereit,” first published in the Halle Geistreiches Gesang-Buch (1698). Freystein was born at Weissenfels in 1671. He was educated at Leipzig and Jena Universities, practised at Dresden as a lawyer, and died there in 1718. The melody of the opening and concluding movements was first published in the Hundert ahnmuthig- und sonderbahr geistlicher Arien (Dresden, 1694). It is set there to Johann Georg Albinus’ Hymn, “Straf mich nicht in deinem Zorn.” From 1712 it was also associated with Freystein’s Hymn in the Hymn books. Bach has not used the melody elsewhere. He had recent (1715) authority for the variations he introduces into bars 3 and 4 of the original tune. (a)The words of the opening movement of the Cantata are the first stanza of Freystein’s Hymn:
Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 397. Form. Choral Fantasia (Corno, Flauto, Oboe d’amore, Strings, Continuo). (b)The words of the concluding Choral are the tenth stanza of Freystein’s Hymn:
Form. Simple (Corno, Flauto, Oboe d’amore, Strings, Continuo). Choralgesange, No. 312. [Back to Table of Contents]Cantata CXVI.Du Friedefürst, Herr Jesu Christ1 . Twenty-fifth Sunday after Trinity (1744)A Choral Cantata, on Jakob Ebert’s Hymn, “Du Friedefürst, Herr Jesu Christ” (see Cantata 67). For Bartholomäus Gesius’ melody, see Cantata 67. (a)The words of the opening movement are the first stanza of Ebert’s Hymn:
Form. Choral Fantasia (Corno, 2 Ob. d’amore, Strings, Continuo). (b)The words of the concluding Choral are the seventh stanza of Ebert’s Hymn:
Form. Simple (Corno, 2 Ob. d’amore, Strings, Continuo). Choralgesänge, No. 69. [Back to Table of Contents]Cantata CXVII.Sei Lob und Ehr’ dem höchsten Gut (c. 1733)1A Choral Cantata, on Johann Jakob Schütz’ Hymn of Thanksgiving, “Sei Lob und Ehr’ dem hochsten Gut,” first published in his Christliches Gedenckbüchlein, zu Beforderung eines anfangenden neuen Lebens (Frankfort a. Main, 1675). Schütz was born at Frankfort a. Main in 1640, practised as an advocate, and died there in 1690. The melody “Es ist das Heil uns kommen her” (see Cantata 9), which Bach uses for the Hymn, is generally associated with it in the Hymn books. (a)The words of the opening movement are the first stanza of Schütz’ Hymn:
Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 1018. Form. Choral Fantasia (2 Fl., 2 Ob., Strings, Continuo). (b)The words of the fourth movement are the fourth stanza of Schütz’ Hymn:
Form. Simple (Continuo). Choralgesange, No. 90. (c)The words of the concluding Choral are the ninth stanza of Schütz’ Hymn:
Form. Simple (Continuo). Choralgesange, No. 90. [Back to Table of Contents]Cantata CXVIII.O Jesu Christ, mein’s Lebens Licht (c. 1737)1The melody of the single movement which forms the Cantata is the anonymous “Ach Gott, wie manches Herzeleid” (see Cantata 3). The words of the movement are the first stanza of Martin Behm’s funerary Hymn, “O [Herr] Jesu Christ, mein’s Lebens Licht” (see Cantata 58):
Form. Choral Motett (Lituus 1 and 2, Cornetto, 3 Trombones)2 . [Back to Table of Contents]Cantata CXIX.Preise, Jerusalem, den Herrn1 . For the Inauguration of the Town Council, Leipzig (1723) Melody: “Herr Gott dich loben wir” Anon. 1535 The words and melody of the concluding Choral of the Cantata are from Luther’s translation of the “Te Deum,” “Herr Gott dich loben wir” (see Cantata 16). The melody printed above is that portion of the Plainsong to which the clauses Bach uses here were sung. Bach’s version of the “Amen” is not found in the 1535 text. The words of the Choral are the twenty-second and twenty-third clauses of the “Te Deum”:
Form. Simple. Choralgesange, No. 1342 . [Back to Table of Contents]Cantata CXX.Gott, man lobet dich in der Stille. For the Inauguration of the Town Council, Leipzig (c. 17301 ) Melody: “Herr Gott dich loben wir” Anon. 1535 The words and melody of the concluding Choral of the Cantata are from Luther’s translation of the “Te Deum” (see Cantata 16). The melody printed above is that portion of the Plainsong to which the clauses Bach uses here were sung. The words of the Choral are clauses xx-xxiii of the “Te Deum”:
Form. Simple (Continuo). Choralgesänge, No. 135. [Back to Table of Contents]Cantata CXXI.Christum wir sollen loben schon. Feast of St Stephen (Christmas) (c. 1740) Melody: “A solis ortus cardine” Anon. 1537  Melody: “Christum wir sollen loben schon” Anon. 1524 A Choral Cantata, on Luther’s Christmas Hymn, “Christum wir sollen loben schon,” a full and close translation of Coelius Sedulius’ Christmas Hymn, “A solis ortus cardine,” first published, with the melody, in Johann Walther’s Geystliche gesangk Buchleyn (Wittenberg, 1524) and the Enchiridion Oder eyn Handbuchlein (Erfurt, 1524). The melody is an adjustment of that of the Latin Hymn, and in its simplified form may be attributed to Walther. The original Plainsong is printed above from Psalmen und geystliche Lieder, die man zu Strassburg, und auch die man inn anderen Kirchen pflegt zu singen (Strassburg, 1537). Bach has not used the tune elsewhere in the Cantatas, Oratorios, or Motetts. Organ Works, N. xv. 33; xviii. 23. (a)The words of the opening movement are the first stanza of Luther’s Hymn:
Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 4. Form. Choral Motett (Cornetto, 3 Trombones, Oboe d’amore, Strings, Continuo). (b)The words of the concluding Choral are the eighth stanza of Luther’s Hymn:
Form. Simple (Cornetto, 3 Trombones, Oboe d’amore, Strings, Continuo). Choralgesange, No. 42. [Back to Table of Contents]Cantata CXXII.Das neugebor’ne Kindelein. Sunday after Christmas (c. 1742) Melody: “Das neugebor’ne Kindelein” Melchior Vulpius 1609 A Choral Cantata1 , on Cyriacus Schneegass’ Christmas Hymn, “Das neugebor’ne Kindelein,” probably first published in his Weihenacht und New Jahrs-Gesang (Erfurt, 1595), and thence in his Geistliche Lieder und Psalmen (Erfurt, 1597). Schneegass was born at Buffleben, near Gotha, in 1546. In 1573 he was appointed pastor of St Blasius’ Church at Freidrichoda, near Gotha, and died there in 1597. The melody was first published, with the Hymn, in Melchior Vulpius’ Ein schön geistlich Gesangbuch (Jena, 1609). It may be attributed confidently to Vulpius himself. The melody does not occur elsewhere in the Cantatas, Oratorios, or Motetts. (a)The words of the opening movement are the first stanza of Schneegass’ Hymn:
Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 1014. Form. Choral Fantasia (2 Ob., Taille2 , Strings, Continuo). In the third movement, the Soprano Recitativo, “Die Engel, welche sich,” the Choral melody is in the accompaniment (3 Flutes and Continuo). (b)The Choral words of the fourth movement are the third stanza of the Hymn:
Form. An “Arie” (Terzetto) for Soprano, Alto, and Tenor, the Alto (with Violino I and II and Viola in unison) having the melody (Continuo). (c)The words of the concluding Choral are the fourth stanza of the Hymn:
Form. Simple (2 Ob., Taille, Strings, Continuo), Choralgesange, No. 57. [Back to Table of Contents]Cantata CXXIII.Liebster Immanuel, Herzog der Frommen. Feast of the Epiphany (c. 1740) Melody: “Liebster Immanuel” Anon. 1679  Melody: “Schonster Immanuel” Anon. 1698* A Choral Cantata, on Ahashuerus Fritsch’s “Liebster [Schonster] Immanuel, Herzog der Frommen,” first published in his Himmels-Lust und Welt-Unlust (Jena, 1679), with the melody. The melody appears either to be derived from, or to be the original of, a “Courant,” which is found in a ms. collection of dance tunes dated 1681. The former alternative is the more probable. The melody does not occur elsewhere in the Cantatas, Oratorios, or Motetts. Erk, No. 113, who attributes the tune tentatively to Johann Rodolph Ahle, prints the melody, with figured Bass, from Schemelli’s Gesang-Buch (1736). The tune is very freely treated in the Hymn books. Bach’s version follows a reconstruction of it in the Darmstadt Geistreiches Gesang-Buch (Darmstadt, 1698). His substitution of an F sharp for A natural as the third note of the third bar of the reconstructed melody (supra) is found in a version of the tune in 1715. For his treatment of bars 5 and 6 also there is (1731) authority. His closing cadence, based on the 1679 text, is repeated in Schemelli’s Gesang-Buch (1736). (a)The words of the opening movement are are the first stanza of Fritsch’s Hymn:
A translation of the Hymn into English is noted in the Dictionary of Hymnology, p. 675. Form. Choral Fantasia (2 Fl., 2 Ob. d’amore, Strings, Continuo)2 . (b)The words of the concluding Choral are the fifth stanza of Fritsch’s Hymn:
Form. Simple (2 Fl., 2 Ob. d’amore, Strings, Continuo). Choralgesange, No. 229. [Back to Table of Contents]Cantata CXXIV.Meinen Jesum lass’ ich nicht. First Sunday after the Epiphany (c. 1740)A Choral Cantata, on Christian Keimann’s Hymn, “Meinen Jesum lass’ ich nicht” (see Cantata 70). For Andreas Hammerschmidt’s (?) melody, see Cantata 70. (a)The words of the opening movement are the first stanza of Keimann’s Hymn:
Form. Choral Fantasia (Corno, Oboe d’amore, Strings, Continuo). (b)The words of the concluding Choral are the sixth stanza of Keimann’s Hymn1 :
Form. Simple (Corno, Oboe d’amore concertante, Strings, Continuo). Choralgesange, No. 246. [Back to Table of Contents]Cantata CXXV.Mit Fried’ und Freud’ ich fahr’ dahin. Purification of the B.V.M. (c. 1740)A Choral Cantata, on Luther’s version of the “Nunc Dimittis” (see Cantata 83, for the Hymn and the melody). (a)The words of the opening movement are the first stanza of Luther’s Hymn:
Form. Choral Fantasia (Corno, Flauto, Oboe, Strings, Continuo). (b)The Choral words of the third movement are the second stanza of Luther’s Hymn:
Form. “Recitativ” and Choral for Bass (Strings, Continuo2 ). (c)The words of the concluding Choral are the fourth stanza of Luther’s Hymn:
Form. Simple (Corno, Flauto, Oboe, Strings, Continuo). Choralgesange, No. 251. [Back to Table of Contents]Cantata CXXVI.Erhalt’ uns, Herr, bei deinem Wort. Sexagesima Sunday (c. 1740)A Choral Cantata, on Luther’s Hymn, “Erhalt’ uns, Herr” (see Cantata 6). Bach’s association (in the concluding Choral of the Cantata) of Luther’s “Verleih’ uns Frieden” with the Hymn, “Erhalt’ uns, Herr,” was in accordance with customary use. In many parts of Germany the stanza was sung immediately after the sermon, either by itself, or in association with Luther’s “Erhalt’ uns.” For the melody of the latter Hymn, which Bach uses in the first and third movements of the Cantata, see Cantata 6. (a)The words of the opening movement are the first stanza of Luther’s “Erhalt’ uns, Herr”:
Form. Choral Fantasia (Tromba, 2 Ob., Strings, Continuo)2 . (b)The Choral words of the third movement are the third stanza of Luther’s “Erhalt’ uns, Herr”:
Form. “Recitativ,” or Dialogus, for Tenor and Alto (Continuo), the Choral melody and Recitativo passages being shared by both voices. (c)The words and melody of the concluding Choral are those of Luther’s Hymn, “Verleih’ uns Frieden gnädiglich,” with its additional stanza, “Gieb unserm Fürst’n” (see Cantata 42):
Form. Simple (Tromba, 2 Ob., Strings, Continuo). Choralgesänge, No. 321. [Back to Table of Contents]Cantata CXXVII.Herr Jesu Christ, wahr’r Mensch und Gott. Quinquagesima (“Esto Mihi”) Sunday (c. 1740) Melody: “On a beau son maison bastir” Louis Bourgeois 1551 A Choral Cantata, on Paul Eber’s funerary Hymn, “Herr Jesu Christ, wahr’r Mensch und Gott,” written in 1557, and first published in the Hamburg Enchiridion Geistliker Leder und Psalmen D. Mar. Luth. (Hamburg, 1565). The melody appears first in the Geneva Psalter, Pseaumes octante trois de David, mis en rime Francoise (Geneva, 1551), where it is set to Psalm cxxvii. In Lutheran Hymn books it is generally associated with Eber’s Hymn. Psalm cxxvii, included in the Geneva Psalter of 1551, was one of the thirty-four recently translated by Theodore Beza. The melody must therefore be assigned to Louis Bourgeois (see Cantata 13). The melody does not occur elsewhere in the Cantatas, Oratorios, or Motetts. For the first note of the first line and last note of the second in Bach’s version there is late sixteenth century authority (Calvisius’ Hymni sacri Latini et germanici, Erfurt, 1594). (a)The words of the opening movement of the Cantata are the first stanza of Eber’s Hymn:
Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 319. Form. Choral Fantasia (2 Fl., 2 Ob., Strings, Continuo). As Quinquagesima heralds the season of the Passion, Bach introduces into the orchestral accompaniment of the movement the melody, “Christe, du Lamm Gottes” (see Cantata 23), the Strings and Wind instruments playing alternate lines of it1 . (b)The words of the concluding Choral are the eighth stanza of Eber’s Hymn:
Form. Simple (2 Fl., 2 Ob., Strings, Continuo). Choralgesänge, No. 147. [Back to Table of Contents]Cantata CXXVIII.Auf Christi Himmelfahrt allein Ascension Day (? 1735)(a)For the melody of the opening movement, Nicolaus Decius’ “Allein Gott in der Hoh’ sei Ehr’,” see Cantata 85. The words of the opening movement are the first stanza of Josua Wegelin’s, or Wegelein’s, Ascension Hymn, “Auf Christi Himmelfahrt allein,” first published in Wegelin’s Andachtige Versohnung mit Gott (Nürnberg, 1636), with a first stanza beginning, “Allein auf Christi Himmelfahrt,” and to the tune “Allein Gott” (supra). The Hymn was reconstructed and published as “Auf Christi Himmelfahrt allein” in the Lüneburg Vollständiges Gesang-Buch (Lüneburg, 1661). Wegelin was born at Augsburg in 1604, and was successively Deacon, Archdeacon, and pastor there. In 1635 he was appointed pastor at Pressburg. He died in 1640:
English translations of the Hymn are noted in the Dictionary of Hymnology, p. 1246. Form. Choral Fantasia (2 Cor., 2 Ob., Oboe da caccia, Strings, Continuo). (b)For the melody of the concluding Choral, the anonymous (1679) “O Gott, du frommer Gott,” see Cantata 45. The words of the concluding Choral are the fourth stanza of Matthaus Avenarius’ Hymn, “O Jesu, meine Lust,” first published (to no specified melody) in Heinrich Ammersbach’s Vermehrtes Gesang-Buchlein (Halberstadt, 1673). Its proper melody dates from 1677 and appears to have been little used. Avenarius’ Hymn is set to “O Gott, du frommer Gott,” in Wagner (1697). Avenarius was born at Eisenach in 1625, became Cantor at Schmalkalden in 1650, pastor at Steinbach-Hallenberg in 1662, and died in 1692:
Form. Embellished (2 Cor. 2 Ob., Oboe da caccia, Strings, Continuo). Choralgesange, No. 279. [Back to Table of Contents]Cantata CXXIX.Gelobet sei der Herr. Trinity Sunday (1732)A Choral Cantata, on Johannes Olearius’ Hymn for Trinity Sunday, “Gelobet sei der Herr,” founded on the Gospel for the Day. The Hymn was first published in Olearius’ Christliche Bet-Schule (Leipzig, 1665), to the tune, “Nun danket alle Gott1 .” Bach sets it here to the anonymous (1679) “O Gott, du frommer Gott” (see Cantata 45). In Wagner (1697) the Hymn is set to “Nun danket alle Gott.” (a)The words of the first movement are the first stanza of Olearius’ Hymn:
Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 866. Form. Choral Fantasia (3 Trombe, Timpani, 2 Ob., Strings, Continuo). (b)The words of the concluding Choral are the fifth stanza of Olearius’ Hymn:
Form. Extended (3 Trombe, Timpani, Flauto, 2 Ob., Strings, Continuo). [Back to Table of Contents]Cantata CXXX.Herr Gott, dich loben alle wir. Feast of St Michael the Archangel (c. 1740) Melody: “Or sus, serviteurs du Seigneur” Louis Bourgeois 1551  Melody: “Il n’y a icy celluy” Anon. c. 15511 
A Choral Cantata, on Paul Eber’s Hymn, a free translation of Philipp Melanchthon’s “Dicimus grates tibi, summe rerum,” first published as a broadsheet at Nürnberg c. 1554 as “Ein schon New Geistlich Lobgesang” and thence in Johann Eichorn’s Geistliche Lieder D. Mart. Lut. und anderer frommen Christen (Frankfort a. Oder, 1561). The melody, which was associated with Eber’s Hymn before Bartholomaus Gesius wrote for the latter its proper melody in 16011 , was published originally in the Geneva Psalter, Pseaumes octante trois de David (Geneva, 1551), where it is set to Psalm cxxxiv, “Or sus, serviteurs du Seigneur,” one of the thirty-four Psalms translated by Theodore Beza and included in that book. The tune in its present and familiar form, therefore, must be attributed to Louis Bourgeois (see Cantata 13). But, like the other Psalm tunes in that collection, “Or sus, serviteurs” probably has a secular origin. Its first two lines bear a distinct resemblance to the melody of a French chanson, “Il n’y a icy celluy1 .” The tune was set to Psalm c in John Knox’ Anglo-Genevan Psalter of 1561 and also in Sternhold and Hopkins’ The whole Book of Psalmes (1562). Claude Goudimel harmonised it in 1565. Upon the issue in 1696 of Tate and Brady’s A New Version of the Psalms of David, Fitted to the Tunes Used in Churches, the word “Old” was added to the titles of the tunes that were retained in use from the older Psalter. Thus Bourgeois’ tune, which from 1562 to 1696 was the “Hundredth,” was thenceforth known as the “Old Hundredth.” The name is peculiar to British use. The melody does not occur elsewhere in the Cantatas, Oratorios, or Motetts. There are harmonisations of the tune in the Choralgesange, Nos. 129, 1302 , 132. (a)The words of the opening movement are the first stanza of Eber’s Hymn:
Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 293. Form. Choral Fantasia (3 Trombe, Timp., 3 Ob., Strings, Continuo). (b)The words of the concluding Choral are the eleventh and twelfth stanzas of Eber’s Hymn:
Form. Embellished (3 Trombe, Timp., 3 Ob., Strings, Continuo). Choralgesange, No. 1312 . [Back to Table of Contents]Cantata CXXXI.Aus der Tiefe rufe ich, Herr, zu dir (1707-8)1The Hymn and Choral melody which Bach uses in the second and fourth movements of the Cantata are Bartholomaus Ringwaldt’s Lenten Hymn, “Herr Jesu Christ, du hochstes Gut” (see Cantatas 48 and 113). (a)The Choral words of the second movement are the second stanza of Ringwaldt’s Hymn:
Form. Duetto for Soprano and Bass, the former having the Choral melody, while the Bass independently sings verses iii and iv of Psalm cxxx (Oboe, Continuo)6 . (b)The Choral words of the fourth movement are the fifth stanza of Ringwaldt’s Hymn:
Form. Duetto for Alto and Tenor, the Alto having the Choral melody while the Tenor sings independently verse vi of Psalm cxxx (Continuo)3 . [Back to Table of Contents]Cantata CXXXII.Bereitet die Wege, bereitet die Bahn. Fourth Sunday in Advent (1715)The words and melody of the concluding Choral are those of Elisabethe Cruciger’s Christmas Hymn, “Herr Christ, der einig’ Gott’s Sohn” (see Cantata 22). The Choral is a substitution, for use at Leipzig, of the movement originally written for and performed at Weimar4 , necessitated by the fact that at St Thomas’ Church figurate music was given only on the first of the Sundays in Advent. Hence Bach’s earlier Advent Cantatas had to be adapted to another season. The words of the concluding Choral are the fifth stanza of Elisabethe Cruciger’s Hymn:
Form. Simple2 . [Back to Table of Contents]Cantata CXXXIII.Ich freue mich in dir. Feast of St John the Evangelist (Christmas) (1735-37) Melody: “Ich freue mich in dir” Bach’s MS. c. 1735  Melody: “Ich freue mich in dir” Bach’s version 1735-37  Melody: “O stilles Gottes Lamm” Konig’s version 1738 A Choral Cantata, on Caspar Ziegler’s Christmas Hymn, “Ich freue mich in dir,” first published in the Halle Geistreiches Gesang Buch (Halle, 1697). Ziegler was born at Leipzig in 1621, and from 1655 was Professor of Law in the University of Wittenberg. He was distinguished as a lawyer, teacher, scholar, and poet. He died in 1690. The melody, “Ich freue mich in dir,” which Bach uses in the opening and concluding movements of the Cantata, is one of two1 that occur for the first time in his Church Cantatas. That the tune is by Bach himself has been stated, and the following considerations support the conclusion. The tune is not found in any Hymn book of earlier date than the Cantata, i.e. 1735-37. The earliest sketch of it is in Bach’s autograph in the ms. of the fugal subject “pleni sunt coeli” of the Sanctus of the B minor Mass2 , upon which he was engaged in the period 1735-37. On the other hand, another version of the melody is found in the Harmonischer Lieder-Schatz, oder Allgemeines Evangelisches Choral-Buch, published in 1738 by Johann Balthasar König (1691-1758), “Director Chori Musices in Franckfurt am Mayn.” The tune is set there to Gottfried Arnold’s (1666-1714) Hymn, “O stilles Gottes Lamm,” while the first line of the melody is appropriated to another tune, set to the Hymn, “Ich will des Herren Zorn.” It is most improbable that Konig, actually Bach’s contemporary, would take liberties with the tune if it was Bach’s own composition. The melody, also, entirely lacks the Aria character which distinguishes Bach’s Hymn tunes from seventeenth and eighteenth century melodies. It is reminiscent, too, of the many reconstructions of Melchior Franck’s (?) “O grosser Gott von Macht” (1632) (see Cantata 46), and of the tune “O Gott, du frommer Gott” (1693) (see Cantata 24), whose composite construction has been noticed. Ziegler’s Hymn, “Ich freue mich in dir,” actually was published in 1697 to the melody, “O Gott, du frommer Gott,” and it was quite contrary to Bach’s practice in a Choral Cantata to set the Hymn to a new or unfamiliar tune. The balance of probability, therefore, is against Bach’s authorship of the tune. The melody is not found elsewhere in the Cantatas, Oratorios, or Motetts. (a)The words of the opening movement are the first stanza of Ziegler’s Hymn:
Form. Choral Fantasia (Cornetto, 2 Ob. d’amore, Strings, Continuo). (b)The words of the concluding Choral are the fourth stanza of the Hymn:
Form. Simple (Cornetto, 2 Ob. d’amore, Strings, Continuo). Choralgesange, No. 181. [Back to Table of Contents]Cantata CXXXV.Ach Herr, mich armen Sünder. Third Sunday after Trinity (c. 1740) Melody: “Herzlich thut mich verlangen” Hans Leo Hassler 1601 A Choral Cantata, on Cyriacus Schneegass’ Hymn on Psalm vi, “Ach Herr, mich armen Sünder,” first published in his Geistliche Lieder und Psalmen (Erfurt, 1597). The melody, “Herzlich thut mich verlangen,” which Bach uses in the first and last movements of the Cantata, first occurs, as a secular song, in Hans Leo Hassler’s Lustgarten Neuer Teutscher Gesang (Nürnberg, 1601). In 1613 it was attached to Christoph Knoll’s (1563-1650) “Herzlich-thut mich verlangen,” and in 1656 to Paul Gerhardt’s “O Haupt voll Blut1 .” Christopher Demantius, in his Threnodiae (Freiberg, 1620), set it to Schneegass’ “Ach Herr, mich armen Sünder,” and the Hymn is still generally sung to it. The melody occurs also in Cantatas 25, 135, 153, 159, 161; in the “St Matthew Passion,” Nos. 21, 23, 53, 63, 72; and in the “Christmas Oratorio,” Nos. 5, 64. There are other harmonisations of the tune in the Choralgesange, Nos. 157, 158. For the B flat which Bach substitutes for D at the eleventh note in the second part of the tune, and for the C natural in place of G at the penultimate note, there is early authority (1679 and 1694 respectively). Organ Works, N. xviii. 53. (a)The words of the opening movement are the first stanza of Schneegass’ Hymn:
Form. Choral Fantasia (Trombone, 2 Ob., Strings, Continuo). The cantus is with the Basses. (b)The words of the concluding Choral are the sixth stanza of the Hymn2 :
Form. Simple (Cornetto, 2 Ob., Strings, Continuo). Choralgesange, No. 156. [Back to Table of Contents]Cantata CXXXVI.Erforsche mich, Gott, und erfahre mein Herz. Eighth Sunday after Trinity (c. 17251 )The melody which Bach uses in the concluding Choral of the Cantata is known both as “Auf meinen lieben Gott” and “Wo soll ich fliehen hin” (see Cantata 5). The words of the Choral are the ninth stanza of Johann Heermann’s Lenten Hymn, “Wo soll ich fliehen hin” (see Cantata 5):
Form. Embellished (Corno, 2 Ob., Strings, Continuo). Choralgesange, No. 27. [Back to Table of Contents]Cantata CXXXVII.Lobe den Herren, den machtigen König der Ehren. Twelfth Sunday after Trinity (? 1732 )A Choral Cantata, on Joachim Neander’s Hymn of Thanksgiving, “Lobe den Herren,” first published in his Glaub- und Liebesubung (Bremen, 1680). Neander was born at Bremen in 1650. In 1674 he was appointed Rector of the Latin School at Dusseldorf, and five years later (1679) returned to Bremen as unordained assistant in the Church of St Martin. He died in 1680. For the melody, “Hast du denn, Liebster,” which Bach uses throughout the Cantata, see Cantata 57. (a)
Translations of the Hymn into English are noted in the Dictionary of Hymnology, pp. 683, 1665. Form. Choral Fantasia (3 Trombe, Timp., 2 Ob., Strings, Continuo). (b)
Form. Unison Choral for Alto. The cantus is treated freely (Violino Solo, Continuo2 ). (c)
Form. Tenor Aria, the cantus being in the Tromba obbligato (Tromba, Continuo). (d)
Form. Embellished (3 Trombe, Timp., 2 Ob., Strings, Continuo). Choralgesange, No. 230. [Back to Table of Contents]Cantata CXXXVIII.Warum betrübst du dich, mein Herz. Fifteenth Sunday after Trinity (c. 17401 )A Choral Cantata, on the Hymn “Warum betrübst du dich, mein Herz” attributed to Hans Sachs (see Cantata 47). The tune which Bach uses in the first, third, and last movements is that of the Hymn (see Cantata 47). (a)The Choral in the opening movement is the first stanza of the Hymn:
Form. Choral Fantasia, with orchestral and Recitativo interludes (2 Ob. d’amore, Strings, Continuo)2 . (b)The Choral in the third movement is the second stanza of the Hymn:
Form. The Choral (S.A.T.B.) is prefaced and its sequence is broken by the interposition of Recitativo passages (2 Ob. d’amore, Strings, Continuo) . (c)The words of the concluding movement are the third stanza of the Hymn:
Form. Choral Fantasia (2 Ob. d’amore, Strings, Continuo) [Back to Table of Contents]Cantata CXXXIX.Wohl dem, der sich auf seinen Gott. Twenty-third Sunday after Trinity (c. 1740) Melody: “Mach’s mit mir, Gott, nach deiner Güt’ ” Johann Hermann Schein 1628 A Choral Cantata, on Johann Christoph Rube’s, or Ruben’s, Hymn, “Wohl dem, der sich auf seinen Gott,” first published in Andreas Luppius’ Andachtig Singender Christen-Mund (Wesel, 1692), and, to its own melody, in the 1694 edition of the Dresden Hundert Arien. Rube was born in 1665, his father being then pastor near Sondershausen. He was appointed judge (Amtmann) at Burggemünden, near Alsfeld, and from about 1704 held a similar appointment at Battenberg. He died at Battenberg in 1746. The melody to which Bach sets the Hymn in the first and last movements is associated with it in the 1709 edition of Crüger’s Praxis. It was composed by Johann Hermann Schein for his Hymn, “Mach’s mit mir, Gott, nach deiner Güt’,” with which it was published in a broadsheet at Leipzig in 1628 as a “Trost-Liedlein” for five voices. The melody occurs also in Cantata 156 and in the “St John Passion,” No. 22. There is another harmonisation of it in the Choralgesange, No. 237. The B flat which Bach substitutes for A natural as the third note of the tune has earlier (1714) authority. (a)The words of the opening movement are the first stanza of Rube’s Hymn:
Form. Choral Fantasia (2 Ob. d’amore, Strings, Organ, Continuo)1 . (b)The words of the concluding Choral are the fifth stanza of the Hymn:
Form. Simple (2 Ob. d’amore, Strings, Continuo). Choralgesange, No. 238. [Back to Table of Contents]Cantata CXL.Wachet auf, ruft uns die Stimme2 . Twenty-seventh Sunday after Trinity3 (17314 ) Melody: “Wachet auf, ruft uns die Stimme” ? Philipp Nicolai 1599 
A Choral Cantata1 , on Philipp Nicolai’s Hymn, “Wachet auf, ruft uns die Stimme,” first published in his Frewden Spiegel dess ewigen Lebens (Frankfort a. Main, 1599), with the melody. The Hymn is a reversed acrostic, the initial letters of its three stanzas, W. Z. G., standing for “Graf zu Waldeck,” Nicolai’s former pupil, who died in 1598, aged fifteen. The Hymn probably was written in 1597, during the pestilence at Unna in Westphalia, where Nicolai then was pastor. The melody was published with the Hymn in 1599. Whether Nicolai composed it cannot be determined positively. As in the case of his “Wie schon leuchtet der Morgenstern” (see Cantata 1), it is probable that he adapted old material to his purpose. It may be observed that the opening line of “Wachet auf” is identical with the opening line of “O Lamm Gottes2 ,” and that the Hymn ends with the words, “in dulci jubilo,” a Hymn the beginning of whose melody is practically identical with “Wachet auf,” except in metre. The melody does not occur elsewhere in the Cantatas, Oratorios, or Motetts. Organ Works, N. xvi. 1. Bach’s variation of the second line of the tune is not revealed by Zahn as having earlier sanction. (a)The words of the opening movement are the first stanza of Nicolai’s Hymn:
Translations of the Hymn into English are noted in the Dictionary of Hymnology, pp. 806, 1613, 1722. Form. Choral Fantasia (Corno, 2 Ob., Taille1 , Strings (including Violino piccolo), Continuo). (b)The words of the fourth movement are the second stanza of Nicolai’s Hymn:
Form. Unison Choral for Tenor (Vn. I and II and Viola in unison, Continuo)2 . (c)The words of the concluding Choral are the third stanza of Nicolai’s Hymn:
Form. Simple (Corno, 2 Ob., Taille, Strings (including Violino piccolo), Continuo). Choralgesange, No. 329. [Back to Table of Contents]Cantata CXLII.Uns ist ein Kind geboren2 . Christmas Day (1712 or 1714)The words and melody of the concluding Choral are those of Caspar Fuger’s Christmas Hymn, “Wir Christenleut’ ” (see Cantata 40). The words are the fifth stanza of the Hymn:
Form. Extended (Flauti, Oboi, Strings, Continuo). [Back to Table of Contents]Cantata CXLIII.Lobe den Herrn, meine Seele. Feast of the Circumcision (New Year’s Day) (1735)(a)The melody of the second movement is Bartholomäus Gesius’ setting of Jakob Ebert’s Hymn for Peace, “Du Friedefürst, Herr Jesu Christ” (see Cantata 67). The words are the first stanza of the Hymn1 :
Form. Unison Choral for Soprano (Violini, Continuo). In the sixth movement, a Tenor Aria, the melody is played by the Violins and Violas in octaves (Fagotto, Strings, Continuo). The words are not a stanza of the Hymn. (b)The words of the concluding movement are the third stanza of Ebert’s Hymn:
Form. Choral Fantasia (3 Cor. da caccia, Timpani, Fagotto, Strings, Continuo). The cantus is in the Soprano part. The other voices accompany on the single word “Halleluja.” [Back to Table of Contents]Cantata CXLIV.Nimm, was dein ist, und gehe hin. Septuagesima Sunday (c. 1725)(a)The words and melody of the third movement are those of Samuel Rodigast’s Hymn, “Was Gott thut, das ist wohlgethan” (see Cantata 12). The words are the first stanza of the Hymn:
Form. Simple (Continuo). Choralgesange, No. 338. (b)The words and melody of the concluding Choral are those of Albrecht Margrave of Brandenburg-Culmbach’s Hymn, “Was mein Gott will, das g’scheh’ allzeit” (see Cantatas 65 and 72). The words are the first stanza of the Hymn:
Form. Simple (Continuo). Choralgesange, No. 343. [Back to Table of Contents]Cantata CXLV.So du mit deinem Munde bekennest Jesum. Easter Tuesday1 (1729 or 1730) Melody: “Jesus, meine Zuversicht” ? Johann Cruger 1653  Melody: “Jesus, meine Zuversicht” ? Johann Crüger 1653 (a)The melody of the opening Choral, set to Luise Henriette Electress of Brandenburg’s Hymn, “Jesus, meine Zuversicht,” was published in 1653 in Christoph Runge’s Geistliche Lieder und Psalmen (Berlin) and in the Berlin edition of Johann Crüger’s Praxis Pietatis Melica. The melody is generally attributed to Crüger and was published in 1668, after his death, with his initials attached to it. Perhaps the Praxis version (the second supra) is a reconstruction of the Runge melody. The melody does not occur elsewhere in the Cantatas, Oratorios, or Motetts. There is another harmonisation of it in the Choralgesange, No. 208, where, as here, Bach uses the tune in its Praxis form. His variation of notes 3 and 4 of the second bar of it (supra) has earlier (1704) sanction. His treatment of bar 3 varies here and in the Choralgesange. Organ Works, N. xviii. 69. The words of the Choral are the first stanza of Caspar Neumann’s Easter Hymn, “Auf, mein Herz,” published in the Breslau Vollstandige Kirchen- und Haus-Music (Breslau, c. 1700) to the melody, “Jesus, meine Zuversicht” (supra):
Form. Simple1 . Choralgesange, No. 209. (b)The words and melody of the concluding Choral are those of Nicolaus Herman’s Easter Hymn, “Erschienen ist der herrlich’ Tag” (see Cantata 67). The words are the fourteenth stanza of the Hymn:
Form. Simple (Continuo). Choralgesänge, No. 84. [Back to Table of Contents]Cantata CXLVI.Wir mussen durch viel Trubsal in das Reich Gottes eingehen. Third Sunday after Easter (“Jubilate”) (c. 1740)1The melody of the concluding Choral (B.G. xxx. 190) is Johann Schop’s “Werde munter, mein Gemüthe” (see Cantata 55). The words of the Choral are lacking in the ms. and in the B.G. Score. Form. Simple2 . [Back to Table of Contents]Cantata CXLVII.Herz und Mund und That und Leben. Feast of the Visitation of the B.V.M.1 (1716)The melody of the two Choral movements, the sixth and the last, of the Cantata is Johann Schop’s “Werde munter, mein Gemüthe” (see Cantata 55). The words of both Choral movements are from Martin Janus’, or Jahn’s, “Jesu, meiner Seelen Wonne,” first published, to Schop’s “Werde munter” (supra), in the Frommer Christen Tagliches Bet-Kammerlein (Görlitz, 1661). The Hymn is sometimes attributed erroneously to Johann Scheffler (1624-77). Janus was born c. 1620 and probably was a native of Silesia. He was precentor at Sorau and later at Sagan. He died about 1682 at Ohlau, where he is said to have been precentor. (a)The words of the sixth movement are the sixth stanza of Janus’ Hymn:
An English translation of the Hymn is noted in the Dictionary of Hymnology, p. 579. Form. Extended (Tromba, Oboi, Strings, Continuo). (b)The words of the concluding Choral are the seventeenth stanza of Janus’ Hymn:
Form. Extended (Tromba, Oboi, Strings, Continuo). [Back to Table of Contents]Cantata CXLVIII.Bringet dem Herrn Ehre seines Namens. Seventeenth Sunday after Trinity (c. 1725)The melody of the concluding Choral is the anonymous “Auf meinen lieben Gott,” or “Wo soll ich fliehen hin” (see Cantata 5). The words of the concluding Choral are the eleventh stanza of Johann Heermann’s Lenten Hymn, “Wo soll ich fliehen hin” (see Cantata 5)1 :
Form. Simple (Continuo). Choralgesange, No. 29. [Back to Table of Contents]Cantata CXLIX.Man singet mit Freuden vom Sieg2 . Feast of St Michael the Archangel (1731) Melody: “Herzlich lieb hab’ ich dich, O Herr” Anon. 1577 
The melody, “Herzlich lieb hab’ ich dich, O Herr,” which Bach uses in the concluding Choral, was first published in Bernhard Schmidt’s Zwey Bücher Einer Neuen Kunstlichen Tabulatur auf Orgel und Instrument (Strassburg, 1577). The germ of it had appeared six years before in Newe Symbola etlicher Fürsten (Nürnberg, 1571), where it is set to the Hymn whose name it bears1 . The melody occurs also in Cantata 174 and in the “St John Passion,” No. 37. There is another harmonisation of it in the Choralgesange, No. 152. Bach’s treatment of the tune is not uniform in the four places in which he employs it. There does not appear to be earlier authority for the F sharp which he substitutes for F natural at the fifth and thirteenth notes (supra) in this movement, nor does he repeat it elsewhere. The words of the concluding Choral are the third stanza of Martin Schalling’s Hymn for the Dying, “Herzlich lieb hab’ ich dich, O Herr,” first published in 1571 (supra):
Translations of the Hymn into English are noted in the Dictionary of Hymnology, pp. 1004, 1648. Form. Embellished (3 Trombe, Timp., 3 Ob., Fagotto, Strings, Continuo). Choralgesange, No. 155. [Back to Table of Contents]Cantata CLI.Süsser Trost, mein Jesus kommt. Feast of St John the Evangelist (Christmas) (c. 1740) Melody: “Lobt Gott, ihr Christen alle gleich” Nicolaus Herman 1554 The words and melody of the concluding Choral are Nicolaus Herman’s Christmas Hymn, “Lobt Gott, ihr Christen alle gleich,” written c. 1554, and first published in Herman’s Die Sontags Euangelia uber das gantze Jar (Wittenberg, 1560), where it is set to the melody printed above. The melody, of which Herman was the composer, appeared first in a broadsheet published in 1554. It is set there to his own words:
The melody occurs also in Cantata 195 and there are harmonisations of it in the Choralgesange, Nos. 233, 234. Organ Works, N. xv. 29; xviii. 74. Bach’s version of the tune practically was established before the end of the sixteenth century. The words of the concluding Choral are the eighth stanza of Herman’s Hymn:
Translations of the Hymn are noted in the Dictionary of Hymnology, p. 514. Form. Simple (Flauto, Oboe d’amore, Strings, Continuo). Choralgesange, No. 235. [Back to Table of Contents]Cantata CLIII.Schau’, lieber Gott, wie meine Feind’. Sunday after the Circumcision (1724)(a)For the melody of the opening Choral, “Ach Gott, vom Himmel sieh’ darein,” see Cantata 2. The words of the Choral are the first stanza of David Denicke’s (?) Hymn, “Schau’, lieber Gott, wie meine Feind’,” first published in the New Ordentlich Gesang-Buch (Hanover, 1646), to the tune, “Ach Gott, vom Himmel” (supra):
Form. Simple (Strings, Continuo). Choralgesänge, No. 5. (b)For the melody of the fifth movement, Hans Leo Hässler’s “Herzlich thut mich verlangen,” see Cantata 135. The words of the Choral are the fifth stanza of Paul Gerhardt’s Hymn, “Befiehl du deine Wege,” first published in the Berlin (1653) edition of the Praxis Pietatis Melica. The Hymn is an acrostic on Luther’s version of Psalm xxxvii. 5, “Befiehl dem Herren dein Weg und hoff auf ihn, er wirds wol machen,” formed by the initial words of the stanzas. It was published to another melody, but was generally sung to Hassler’s tune (supra):
English translations of the Hymn are noted in the Dictionary of Hymnology, pp. 125, 1611. Form. Simple (Strings, Continuo). Choralgesange, No. 160. (c)For the melody of the concluding Choral, the anonymous “Herr Jesu Christ, mein’s Lebens Licht,” or “Ach Gott, wie manches Herzeleid,” see Cantata 3. The words of the Choral are the eleventh and twelfth stanzas of Martin Moller’s (?) Hymn, “Ach Gott, wie manches Herzeleid” (see Cantata 3), arranged as three verses:
Form. Simple (Strings, Continuo). Choralgesange, No. 9. [Back to Table of Contents]Cantata CLIV.Mein liebster Jesus ist verloren. First Sunday after the Epiphany (1724)(a)For the melody of the third movement, Johann Schop’s “Werde munter, mein Gemüthe,” see Cantata 55. The words of the Choral are the second stanza of Martin Janus’ Hymn, “Jesu, meiner Seelen Wonne” (see Cantata 147):
Form. Simple (2 Ob., Strings, Continuo). Choralgesänge, No. 365. (b)For the melody of the concluding Choral, Andreas Hammerschmidt’s (?) “Meinen Jesum lass’ ich nicht,” see Cantata 70. The words of the Choral are the sixth stanza of Christian Keimann’s Hymn, “Meinen Jesum lass’ ich nicht” (see Cantata 70):
Form. Simple (2 Ob., Strings, Continuo). Choralgesange, No. 244. [Back to Table of Contents]Cantata CLV.Mein Gott, wie lang’, ach lange. Second Sunday after the Epiphany (1715)The words and melody of the concluding Choral are those of Paul Speratus’ Hymn, “Es ist das Heil uns kommen her” (see Cantata 9). The words are the twelfth stanza of the Hymn:
Form. Simple (Strings, Continuo). Choralgesange, No. 88. [Back to Table of Contents]Cantata CLVI.Ich steh’ mit einem Fuss im Grabe. Third Sunday after the Epiphany (1729-30)(a)The melody of the second movement is Johann Hermann Schein’s “Mach’s mit mir, Gott, nach deiner Güt’ ” (see Cantata 139). The words of the Choral are the first stanza of Schein’s Hymn. It was written in 1628 for the funeral of Margarita Werner, the wife of a Leipzig Town Councillor, and was published in that year as a broadsheet, with the tune. The Hymn is an acrostic; the initial letters of the first and third lines in stanzas i-iv spell the name “Ma-r-g-a-r-i-t-a,” and the initial W of stanza v stands for “Werner”:
Translations of the Hymn are noted in the Dictionary of Hymnology, p. 1008. Form. “Arie mit Choral” for Soprano and Tenor, i.e. a Duetto, the Soprano having the cantus and the Tenor an independent subject to other words (Vn. I and II and Viola in unison, Continuo)3 .  Melody: “Herr, wie du willt” Anon. 1525 (b)The melody of the concluding Choral was first published in 1525 in the Strassburg Ordnung des Herren Nachtinal, and also, with a slight alteration1 , in the Strassburg Teutsch Kirchēampt mit lobgsengen, un̄ gotlichen psalmen in the same year. It was set in both to Luther’s “Aus tiefer Noth,” but is generally associated with Bienemann’s Hymn (infra) in the Hymn books. Bienemann’s Hymn has a later (1648) melody of its own, which is less familiar. The melody does not occur elsewhere in the Cantatas, Oratorios, or Motetts. There is another harmonisation of it in the Choralgesange, No. 151. The words of the Choral are the first stanza of Caspar Bienemann’s Hymn, “Herr, wie du willt, so schick’s mit mir” (see Cantata 73):
Form. Simple (Oboe, Strings, Continuo). Choralgesange, No. 150. [Back to Table of Contents]Cantata CLVII.Ich lasse dich nicht, du segnest mich denn. Purification of the B.V.M.1 (1727)The words and melody of the concluding Choral are those of Christian Keimann’s Hymn, “Meinen Jesum lass’ ich nicht” (see Cantata 70). The words are the sixth stanza of the Hymn:
Form. Simple (Flauto, Oboe, Strings, Continuo). Choralgesange, No. 245. [Back to Table of Contents]Cantata CLVIII.Der Friede sei mit dir. Purification of the B.V.M. and Easter Tuesday3 (c. 1708-17)(a)The Choral in the second movement is Johann Georg Albinus’ Hymn, “Welt, ade! ich bin dein müde” (Cantata 27). For Johann Rosenmüller’s melody, see Cantata 27. The words of the Choral are the first stanza of the Hymn:
Form. “Arie mit Choral,” i.e. Duetto, for Soprano and Bass. The Soprano has the cantus (Oboe, Violino solo, Continuo). (b)The words and melody of the concluding Choral are Luther’s “Christ lag in Todesbanden” (see Cantata 4). The words are the fifth stanza of the Hymn:
Form. Simple (Continuo). Choralgesange, No. 40. [Back to Table of Contents]Cantata CLIX.Sehet, wir geh’n hinauf gen Jerusalem. Quinquagesima (“Esto Mihi”) Sunday (? 1729)(a)For the melody of the second movement, Hassler’s “Herzlich thut mich verlangen,” see Cantata 135. The words of the Choral are the sixth stanza of Paul Gerhardt’s Passiontide Hymn, “O Haupt voll Blut und Wunden,” first published in the 1656 (Frankfort) edition of Cruger’s Praxis Pietatis Melica:
Translations of the Hymn into English are noted in the Dictionary of Hymnology, pp. 835, 1681. Form. “Arie mit Choral” for Soprano and Alto, i.e. a Duetto, the Soprano having the Choral melody (Oboe, Fagotti, Continuo).  Melody: “Jesu Kreuz, Leiden und Pein” Melchior Vulpius 1609: reconstruction 1682 (b)The melody of the concluding Choral, Melchior Vulpius’ “Jesu Kreuz, Leiden und Pein,” was first published in 1609, set to Petrus Herbert’s Hymn, “Jesu Kreuz, Leiden und Pein1 . In 1656 it was associated with Paul Stockmann’s “Jesu Leiden, Pein und Tod,” and a reconstruction of it, set to Stockmann’s Hymn, was published by Gottfried Vopelius in his New Leipziger Gesangbuch, Von den schonsten und besten Liedern verfasset (Leipzig, 1682). The melody occurs also in Cantata 182 and in the “St John Passion,” Nos. 11, 30, 32. Bach uses it in its reconstructed form. The F sharp which he substitutes for A natural at the seventh note in the second bar (supra) has earlier sanction (1714). His variation of the last bar is general to his use of the tune, and is found in an earlier (1714) text. In the “St John Passion” (No. 30) he introduces a C sharp at the sixth note of the first bar (supra). The words of the Choral are the thirty-third stanza of Paul Stockmann’s Passiontide Hymn, “Jesu Leiden, Pein und Tod,” first published in his Aller Christen Leib-Stucke (Leipzig, 1633):
Form. Simple (Oboe, Strings, Continuo). Choralgesange, No. 194. [Back to Table of Contents]Cantata CLXI.Komm, du susse Todesstunde. Sixteenth Sunday after Trinity and Feast of the Purification of the B.V.M. (1715)For the melody of the concluding Choral, Hassler’s “Herzlich thut mich verlangen,” see Cantata 135. The words of the Choral are the fourth stanza of Christoph Knoll’s funerary Hymn, “Herzlich thut mich verlangen.” The Hymn is said to have been written during a pestilence in 1599. It was first printed at Gorlitz in 1605 and also in the Görlitz Harmoniae sacrae (1613), where it is set to Hassler’s tune. Christoph Knoll was born at Bunzlau, in Silesia, in 1563. He was successively schoolmaster, Deacon, and Archdeacon at Sprottau, and from 1628 was pastor of the neighbouring village, Wittgendorf. He died there in 1650:
A translation of the Hymn into English is noted in the Dictionary of Hymnology, p. 629. Form. Embellished (2 Fl., Strings, Continuo). Choralgesange, No. 161. Bach introduces (Sesquialtera ad Organo) the melody in the opening Alto Aria, “Komm, du süsse Todesstunde.” [Back to Table of Contents]Cantata CLXII.Ach, ich sehe, jetzt da ich zur Hochzeit gehe. Twentieth Sunday after Trinity (1715) Melody: “Alle Menschen mussen sterben” Bach’s version 1715  Melody: “Jesu, der du meine Seele” Johann Schop 1641  Melody: “Herr, ich habe missgehandelt” Johann Cruger 1649  Melody: “Alle Menschen mussen sterben” Johann Rosenmuller 1652 The melody of the concluding Choral is one of two which appear for the first time in Bach’s Church Cantatas1 . Erk2 , who prints it, describes it as Johann Schop’s “Jesu, der du meine Seele” (1641) “nachgebildet.” Spitta3 declares it to be “nothing more than a compound produced by the fusion of the melodies, ‘Herr, ich habe missgehandelt’ (1649) and ‘Jesu, der du meine Seele’ (1641).” He adds: “I am now thoroughly convinced of Bach being the author of this melody, which occurs nowhere else.” Spitta’s confidence is inadequately grounded. The Hymn, “Alle Menschen mussen sterben,” received in 1652 a five-part setting, by Johann Rosenmüller1 , of which the tune printed supra is the descant melody. It is clear that the tune is a derivative, and with great probability may be regarded as the Tenor of an original setting now lost. The German Hymn books between 1652 and 1715, the date of Bach’s Cantata, contain a large number of tunes to the Hymn. One of them, dated 16742 , is, as to the first half of it, certainly constructed upon the Bass of Rosenmüller’s setting. Whether Bach’s is an original variation or not, Spitta’s suggestion that he formed it by dissecting two other tunes by well known composers may be discarded. Konig prints in 1738 two versions of a tune closely related to Bach’s. All three probably are derived from a common source. It was not in accordance with Bach’s rule to set a Hymn to a tune not in customary use with it. It is therefore improbable that he should have gone out of his way to invent a tune for a Hymn which had its own melody, with one of which, too, he was familiar1 . The circumstances surrounding this case are, in fact, very similar to those attending the doubtful melody in Cantata 133. Of both tunes a large number of variations exist in the Hymn books, evidencing either their composite origin, or their derivation from some common original. The melody does not occur elsewhere in the Cantatas, Oratorios, or Motetts. In the Orgelbuchlein, N. xv. 119, Bach treats a melody found first in the Darmstadt Das grosse Cantional (Darmstadt, 1687). The words of the concluding Choral of the Cantata are the seventh stanza of Johann Georg Albinus’ funerary Hymn, “Alle Menschen müssen sterben.” It was written and published for the funeral of Paul von Henssberg, a burgher of Leipzig, and was sung to Rosenmuller’s setting on that occasion (June 1, 1652). The broadsheet states that both words and music were composed in Henssberg’s honour by Johann Rosenmuller. The statement would appear to be conclusive. On the other hand, Rosenmüller is not known as a Hymn writer, and hymnologists unhesitatingly ascribe the Hymn to Albinus, to whose other Hymn for the Dying, “Welt, ade!” Rosenmüller also wrote the music (see Cantata 27):
Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 36. Form. Simple (Corno da tirarsi, Fagotto, Strings, Continuo). Choralgesange, No. 18. [Back to Table of Contents]Cantata CLXIII.Nur Jedem das Seine. Twenty-third Sunday after Trinity (1715) Melody: “Wo soll ich fliehen hin” ? Caspar Stieler 1679 The melody of the concluding Choral was first published in Caspar Stieler’s Der Bussfertige Sunder, Oder Geistliches Hand-Buchlein (Nurnberg, 1679). It is set there to Johann Heermann’s Lenten Hymn, “Wo soll ich fliehen hin” (see Cantata 5). Spitta1 describes the melody as Pachelbel’s2 . Zahn, on the other hand, is of opinion that the anonymous tunes in the Hand-Büchlein are by Stieler himself. Of Stieler, beyond the fact that he calls Ahashuerus Fritsch his “Patron und Gevatter,” nothing is known. The melody occurs also in Cantata 199. The tune, “Wo soll ich fliehen hin,” which Bach treats in the Organ Works, is more correctly styled, “Auf meinen lieben Gott” (see Cantata 5). The ms. of the Cantata and the B.G. Score give no Hymn stanza. Spitta3 is responsible for the insertion of the eleventh stanza of Johann Heermann’s Lenten Hymn, “Wo soll ich fliehen hin” (see Cantata 5), in the vocal Score:
Form. Simple1 . The melody is neither in Erk nor the Choralgesange. In the fifth movement of the Cantata (B.G. xxxiii. 61), a Duetto (“Arie”) for Soprano and Alto, the melody of Andreas Hammerschmidt’s (?) “Meinen Jesum lass’ ich nicht” (see Cantata 70) accompanies the singers. It is played by the “Violini e Viola all’ unisono.” The melody is suggested by the words of the movement, which, however, are not a stanza of Christian Keimann’s Hymn. [Back to Table of Contents]Cantata CLXIV.Ihr, die ihr euch von Christo nennet. Thirteenth Sunday after Trinity (1723 or 1724)The words and melody of the concluding Choral are from Elisabethe Cruciger’s Christmas Hymn, “Herr Christ, der einig’ Gott’s Sohn” (see Cantata 22). The words are the fifth stanza of the Hymn:
Form. Simple (2 Ob., Strings, Continuo). Choralgesange, No. 127. In the second movement of the Cantata (B.G. xxxiii. 75), the Bass Recitativo “Wie hören zwar,” Bach gives a brief reference (Arioso) to the melody “O Gott, du frommer Gott” (1693) (see Cantata 24). The words are not a stanza of that Hymn. [Back to Table of Contents]Cantata CLXV.O heil’ges Geist- und Wasserbad. Trinity Sunday (? 1724)The words and melody of the concluding Choral are from Ludwig Helmbold’s Hymn, “Nun lasst uns Gott dem Herren” (see Cantata 79). The words are the fifth stanza of the Hymn:
Form. Simple (Fagotto, Strings, Continuo). Choralgesänge, No. 266. [Back to Table of Contents]Cantata CLXVI.Wo gehest du hin? Fourth Sunday after Easter (“Cantate”) (c. 1725)(a)For the melody of the third movement, the anonymous “Herr Jesu Christ, du höchstes Gut,” see Cantata 48. The words of the movement are the third stanza of Bartholomaus Ringwaldt’s Hymn, “Herr Jesu Christ, ich weiss gar wohl,” first published in Handbüchlein: Geistliche Lieder und Gebetlin (Frankfort a. Oder, 1586 [1582], to the tune “Wenn mein Stündlein vorhanden ist.” It is associated in Wagner (1697) with the melody, “Herr Jesu Christ” (supra):
Form. Soprano Unison Choral (“Violini e Viola” in unison, Continuo). (b)The melody of the concluding Choral is Georg Neumark’s “Wer nur den lieben Gott lasst walten” (see Cantata 21). The words are the first stanza of Emilie Juliane Countess of Schwarzburg-Rudolstadt’s funerary Hymn, “Wer weiss, wie nahe mir mein Ende” (see Cantata 27):
Form. Simple (Oboe, Strings, Continuo). Choralgesange, No. 372. [Back to Table of Contents]Cantata CLXVII.Ihr Menschen, ruhmet Gottes Liebe1 . Feast of St John Baptist (c. 1725)The melody of the concluding Choral is Johann Kugelmann’s (?) “Nun lob’, mein’ Seel’, den Herren” (see Cantata 17). The words of the Choral are the fifth stanza of Johann Graumann’s Hymn, “Nun lob’, mein’ Seel’, den Herren” (see Cantata 29):
Form. Extended (Clarino, Oboe, Strings, Continuo). [Back to Table of Contents]Cantata CLXVIII.Thue Rechnung! Donnerwort. Ninth Sunday after Trinity (c. 1725)The words and melody of the concluding Choral are Bartholomaus Ringwaldt’s Lenten Hymn, “Herr Jesu Christ, du hochstes Gut” (see Cantatas 48 and 113). The words are the eighth stanza of the Hymn:
Form. Simple (2 Ob. d’amore, Strings, Continuo). Choralgesange, No. 143. [Back to Table of Contents]Cantata CLXIX.Gott soll allein mein Herze haben. Eighteenth Sunday after Trinity (1731 or 1732) Melody: “Nun bitten wir den heiligen Geist” Anon. 1524 The words and melody of the concluding Choral are Luther’s Whitsuntide Hymn, “Nun bitten wir den heiligen Geist,” first published, words and melody, in Johann Walther’s Geystliche gesangk Buchleyn (Wittenberg, 1524). Undoubtedly the melody is a reconstruction by Walther of the tune, “Nu biten wir den heiligen Geist,” one of the few vernacular pre-Reformation Hymns. The melody also occurs in Cantata 197, and there is another harmonisation of it in the Choralgesange, No. 254. The words of the Choral are the third stanza of the Hymn, which, with stanzas ii and iv, Luther added to the original “Nu biten wir,” which dates certainly from the thirteenth century:
Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 821. Form. Simple (2 Ob., Taille1 , Strings, Continuo). Choralgesange, No. 2562 . [Back to Table of Contents]Cantata CLXXI.Gott, wie dein Name, so ist auch dein Ruhm. Feast of the Circumcision (New Year’s Day) (c. 1730)The words and melody of the concluding Choral are Johann Hermann’s New Year’s Hymn, “Jesu, nun sei gepreiset” (see Cantata 41). The words are the third stanza of the Hymn:
Form. Extended (3 Trombe, Timp., 2 Ob., Strings, Continuo). Choralgesange, No. 2041 . [Back to Table of Contents]Cantata CLXXII.Erschallet, ihr Lieder. Whit Sunday (1724 or 1725)The words and melody of the concluding Choral are Philipp Nicolai’s Hymn, “Wie schon leuchtet der Morgenstern” (see Cantata 1). The words are the fourth stanza of the Hymn:
Form. Embellished (Fagotto, Strings, Continuo). Choralgesänge, No. 376. In the fifth movement of the Cantata (B.G. xxxv. 62), the Soprano-Alto Duetto, “Komm, lass’ mich nicht länger warten,” the Violin obbligato is a very free treatment of the Whitsuntide melody, “Komm, heiliger Geist, Herre Gott” (see Cantata 59), in an abridged form. [Back to Table of Contents]Cantata CLXXIV.Ich liebe den Hochsten von ganzem Gemuthe. Whit Monday (1731 or 1732)The words and melody of the concluding Choral are Martin Schalling’s funerary Hymn, “Herzlich lieb hab’ ich dich, O Herr” (see Cantata 149). The words are the first stanza of the Hymn:
Form. Embellished (2 Ob., Taille1 , Strings, Continuo). Choralgesänge, No. 1532 . [Back to Table of Contents]Cantata CLXXV.Er rufet seinen Schafen mit Namen. Whit Tuesday (? 1735)For the melody of the concluding Choral, “Komm, heiliger Geist, Herre Gott,” see Cantata 59. The words of the Choral are the ninth stanza of Johann Rist’s Hymn for the Sixth Sunday after Easter, “O Gottes Geist, mein Trost und Rath,” first published in his Sabbahtische Seelenlust (Lüneburg, 1651), to the melody, “Komm, heiliger Geist”:
Form. Embellished (3 Fl., Strings, Continuo). Choralgesange, No. 220. [Back to Table of Contents]Cantata CLXXVI.Es ist ein trotzig und verzagt Ding. Trinity Sunday (? 1735)For the melody of the concluding Choral, Johann Walther’s(?) “Christ unser Herr zum Jordan kam,” see Cantata 7. The words of the Choral are the eighth stanza of Paul Gerhardt’s Hymn for Trinity Sunday, “Was alle Weisheit in der Welt,” first published in the 1653 (Berlin) edition of Crüger’s Praxis Pietatis Melica, to the melody, “Christ unser Herr”:
Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 411. Form. Simple (2 Ob., Oboe da caccia, Strings, Continuo). Choralgesänge, No. 45. [Back to Table of Contents]Cantata CLXXVII.Ich ruf’ zu dir, Herr Jesu Christ1 . Fourth Sunday after Trinity (1732) Melody: “Ich ruf’ zu dir, Herr Jesu Christ” Anon. 1535 A Choral Cantata, on Johannes Agricola’s (Sneider) Hymn, “Ich ruf’ zu dir, Herr Jesu Christ,” published originally as a broadsheet, and thence in Joseph Klug’s Geistliche Lieder zu Wittemberg (Wittenberg, 1535 [1529])2 , with the melody. Agricola was born at Eisleben in 1492. He was educated at Wittenberg, where he was befriended by Luther. He became in 1525 Rector of St Andrew’s School and preacher at Eisleben, and later (1540) Court preacher at Berlin. He helped to draw up the “Interim” in 1548 and died in Berlin in 1566. The Hymn is attributed erroneously to Paul Speratus. The melody, which was published with the Hymn (supra), occurs also in Cantata 185. Organ Works, N. xv. 111. (a)The words of the opening movement are the first stanza of the Hymn:
English translations of the Hymn are noted in the Dictionary of Hymnology, pp. 31, 1550. Form. Choral Fantasia (2 Ob., Violino concertante, Strings, Continuo). (b)The words of the concluding Choral are the fifth stanza of the Hymn:
Form. Simple (2 Ob., Fagotto, Strings, Continuo). Choralgesänge, No. 183. [Back to Table of Contents]Cantata CLXXVIII.Wo Gott der Herr nicht bei uns halt. Eighth Sunday after Trinity (c. 1740)A Choral Cantata, on Justus Jonas’ version of Psalm cxxiv, “Wo Gott der Herr nicht bei uns halt,” first published in Eyn Enchiridion oder Handbuchlein (Erfurt, 1524). It occurs also in Eyn gesang Buchleyn (Zwickau, 1525), but to another melody, and in Joseph Klug’s Geistliche Lieder (Wittenberg, 1535 [1529]), to the tune which Bach uses here (see Cantata 73). Jonas, the son of Jonas Koch, was born at Nordhausen in 1493. He was educated at Wittenberg and Erfurt and became (1519) Rector of the latter University. As Professor of Church Law at Wittenberg (1521) he was the friend and colleague of Luther and Melanchthon. After Luther’s death he became pastor at Eisfeld on the Werra, and died there in 1555. (a)The words of the first movement are the first stanza of the Hymn:
A translation of the Hymn into English is noted in the Dictionary of Hymnology, p. 605. Form. Choral Fantasia (2 Ob., Strings, Continuo). (b)The words of the Choral in the second movement are the second stanza of the Hymn:
Form. “Recitativ” and Choral for Alto (Continuo)2 . (c)The words of the fourth movement are the fourth stanza of the Hymn:
Form. Tenor Unison Choral (2 Ob. d’amore, Continuo). (d)The words of the Choral in the fifth movement are the fifth stanza of the Hymn:
Form. “Choral und Recitativ” (S.A.T.B.) in Extended Dialogus form (Continuo). (e)The words of the concluding Choral are the seventh and eighth stanzas of the Hymn:
Form. Simple (2 Ob., Strings, Continuo). Choralgesange, No. 384. [Back to Table of Contents]Cantata CLXXIX.Siehe zu, dass deine Gottesfurcht nicht Heuchelei sei. Eleventh Sunday after Trinity (? 1724)For the melody of the concluding Choral, Georg Neumark’s “Wer nur den lieben Gott lässt walten,” see Cantata 21. The words of the Choral are the first stanza of Christoph Tietze’s (Titius) Hymn, “Ich armer Mensch, ich armer Sünder,” first published in his Sunden-Schmertzen, Trost im Hertzen, Todten Kertzen (Nürnberg, 1663). Tietze was born at Wilkau in 1641, became Deacon and Archdeacon at Hersbruck, near Nurnberg, and died there in 1703. Before the date of this Cantata Tietze’s Hymn was usually sung to the tune “Wohl dem, der weit von hohen Dingen,” to which it was published. It is set to Neumark’s tune in the Praxis of 1709 and in the Unverfalschter Lieder-Segen of 1878:
Form. Simple (2 Ob., Strings, Continuo). Choralgesange, No. 371. [Back to Table of Contents]Cantata CLXXX.Schmücke dich, O liebe Seele2 . Twentieth Sunday after Trinity (c. 1740) Melody: “Schmücke dich, O liebe Seele” Johann Cruger 1649 
A Choral Cantata, on Johann Franck’s Eucharistic Hymn, “Schmücke dich, O liebe Seele,” first published, with the melody, in Johann Crüger’s Geistliche Kirchen-Melodien (Leipzig, 1649), and in the Berlin (1653) edition of Crüger’s Praxis Pietatis Melica. The melody does not occur elsewhere in the Cantatas, Oratorios, or Motetts. Organ Works, N. xvii. 22. Zahn does not reveal an earlier instance of Bach’s variation of bars 4 and 5 supra. (a)The words of the opening movement are the first stanza of the Hymn:
Translations of the Hymn into English are noted in the Dictionary of Hymnology, pp. 1014, 1699. Form. Choral Fantasia (2 Fl., 2 Ob., Oboe da caccia, Strings, Continuo). (b)The words of the Choral in the third movement are the fourth stanza of the Hymn:
Form. “Recitativ” for Soprano. After seven bars of introductory Recitativo, the rest of the movement is a rather free treatment of the melody as a Unison Choral (Violoncello piccolo, Continuo). (c)The words of the concluding Choral are the ninth stanza of the Hymn:
Form. Simple (Continuo). Choralgesänge, No. 304. [Back to Table of Contents]Cantata CLXXXII.Himmelskönig, sei willkommen. Palm Sunday (1714 or 1715)For the melody of the penultimate movement, Melchior Vulpius’ “Jesu Kreuz, Leiden und Pein,” see Cantata 159. The words of the movement are the thirty-third stanza of Paul Stockmann’s Passiontide Hymn, “Jesu Leiden, Pein und Tod” (see Cantata 159):
Form. Choral Fantasia in fugal form (Flauto, Strings, Continuo). [Back to Table of Contents]Cantata CLXXXIII.Sie werden euch in den Bann thun. Sixth Sunday after Easter (“Exaudi”)1 (? 1735)For the melody of the concluding Choral, the anonymous “Helft mir Gott’s Güte preisen,” see Cantata 11. The words of the Choral are the fifth stanza of Paul Gerhardt’s Whitsuntide Hymn, “Zeuch ein zu deinen Thoren,” first published in the Berlin (1653) edition of Crüger’s Praxis Pietatis Melica, to its own melody. It is also set in the Hymn books to the tune “Von Gott will ich nicht lassen”:
Translations of the Hymn are noted in the Dictionary of Hymnology, p. 1300. Form. Simple (2 Ob. d’amore, 2 Ob. da caccia, Strings, Continuo). Choralgesange, No. 126. [Back to Table of Contents]Cantata CLXXXIV.Erwünschtes Freudenlicht. Whit Tuesday (? 1724) Melody: “O Herre Gott, dein gottlich Wort” Anon. 1527 The words and melody of the fifth movement are from the Hymn, “O Herre Gott, dein gottlich Wort,” attributed to Anark of Wildenfels, published, with the melody, in the 1527 edition of the Erfurt Enchiridion. The author, who died in 1539, was one of the strongest supporters of the Reformation at the Saxon Court and signed the Augsburg Confession. The melody does not occur elsewhere in the Cantatas, Oratorios, or Motetts. Bach’s slight variations from the original, notably the B natural for A natural at the third note supra, the C natural for D natural at the fifth note after the first double bar, and the closing cadence, are found in sixteenth century texts. The words are the eighth stanza of the Hymn:
Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 836. Form. Simple (2 Fl., Strings, Continuo). Choralgesange, No. 2832 . [Back to Table of Contents]Cantata CLXXXV.Barmherziges Herze der ewigen Liebe. Fourth Sunday after Trinity (1715)The words and melody of the concluding Choral are from Johannes Agricola’s Hymn, “Ich ruf’ zu dir, Herr Jesu Christ” (see Cantata 177). The words are the first stanza of the Hymn:
Form. Embellished (Tromba, Oboe, Fagotto, Strings, Continuo). Choralgesange, No. 184. In the opening movement of the Cantata (B.G. xxvii. 103), the Soprano-Tenor Duetto “Barmherziges Herze,” the melody of the Choral is introduced upon the Tromba or Oboe. The insertion of the melody transforms the Cantata, whose burden otherwise is a lament over human frailty. [Back to Table of Contents]Cantata CLXXXVI.Argre dich, O Seele, nicht. Seventh Sunday after Trinity (1723)3The words and melody of the last movement of Part I of the Cantata are Paul Speratus’ Hymn, “Es ist das Heil uns kommen her” (see Cantata 9). The words are the twelfth stanza of the Hymn:
Form. Extended (2 Ob., Strings, Continuo)4 . [Back to Table of Contents]Cantata CLXXXVII.Es wartet Alles auf dich. Seventh Sunday after Trinity (1732) Melody: “Da Christus geboren war” Anon. 1544  Melody: “Singen wir aus Herzensgrund” Anon. 1589 The melody of the concluding Choral is found first in the Gesangbuch der Bruder inn Behemen und Merherrn (Nürnberg, 1544), where it is set to Johann Roh’s (Horn, Cornu) version of the Latin Christmas Hymn, “In natali Domini.” It may be inferred that the melody is adapted from the tune of that Hymn, which probably is of the fourteenth or fifteenth century. The melody does not occur elsewhere in the Cantatas, Oratorios, or Motetts. The tune practically had assumed the form in which Bach uses it before the end of the sixteenth century. The words of the concluding Choral are the fourth and sixth stanzas of the anonymous Hymn, or Grace after Meat, “Singen wir aus Herzensgrund.” It appeared first as a broadsheet c. 1560 and later in Hundert Christenliche Haussgesang (Nürnberg, 1569) and in Johann Eichorn’s Geistliche Lieder (Frankfort a. Oder, 1569). In the 1589 edition of the latter Hymn book the Hymn is associated with the tune “Da Christus geboren war”:
A translation of the Hymn is noted in the Dictionary of Hymnology, p. 1060. Form. Simple (2 Ob., Strings, Continuo). Choralgesänge, No. 308. [Back to Table of Contents]Cantata CLXXXVIII.Ich habe meine Zuversicht4 . Twenty-first Sunday after Trinity (1730 or 1731)The melody of the concluding Choral is the anonymous “Auf meinen lieben Gott,” or “Wo soll ich fliehen hin” (see Cantata 5). The words of the Choral are the first stanza of the Hymn, “Auf meinen lieben Gott,” attributed to Sigismund Weingartner, first published in Geistliche Psalmen, Hymnen, Lieder und Gebet (Nürnberg, 1607). Of Weingartner nothing certain is known beyond the fact that his name appears as “Sigismund Weingart” in the Index of Authors prefixed to the Geistliche Psalmen (supra). He seems to have been a preacher in or near Heilbronn c. 1600. It is doubtful whether he was the author of the Hymn, whose ascription to him arose from the fact that it stands in the Index immediately under another Hymn to which his initials are attached1 :
Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 1247. Form. Simple (Continuo). Choralgesange, No. 253 . [Back to Table of Contents]Cantata CXC.Singet dem Herrn ein neues Lied1 . Feast of the Circumcision (New Year’s Day) (c. 17252 )(a)The words and melody of the Choral in the second movement are those of Luther’s version of the “Te Deum” (see Cantata 16). The words are the first two clauses of the “Te Deum”:
Form. Extended; the lines being interrupted by Recitativo passages for Bass and Tenor (3 Trombe, Timp., 3 Ob., Strings, Continuo) In two places in the opening Chorus, “Singet dem Herrn,” the four voices in unison declaim the first two lines of the Choral (B.G. xxxvii. 236, 240). (b)The words and melody of the concluding Choral are Johann Hermann’s New Year Hymn, “Jesu, nun sei gepreiset” (see Cantata 41). The words are the second stanza of the Hymn:
Form. Embellished (3 Trombe, Timp., 3 Ob., Strings, Continuo). Choralgesange, No. 205. [Back to Table of Contents]Cantata CXCII.Nun danket alle Gott (c. 17322 )A Choral Cantata, on Martin Rinkart’s Hymn, “Nun danket alle Gott” (see Cantata 79). The melody of the opening and concluding movements is Johann Crüger’s setting of the Hymn (see Cantata 79). (a)The words of the opening movement are the first stanza of Rinkart’s Hymn:
Form. Choral Fantasia (2 Fl., 2 Ob., Strings, Continuo). (b)The words of the concluding Choral are the third stanza of Rinkart’s Hymn:
Form. Choral Fantasia (2 Fl., 2 Ob., Strings, Continuo). [Back to Table of Contents]Cantata CXCIV.Hochsterwünschtes Freudenfest1 . For the Opening of the Organ at Stormthal (1723)(a)For the melody of the concluding movement of Part I, Louis Bourgeois’ “Ainsi qu’on oit le cerf,” see Cantata 13. The words of the movement are the sixth and seventh stanzas of Johann Heermann’s Hymn, “Treuer Gott, ich muss dir klagen” (see Cantata 25): Form. Simple (3 Ob., Strings, Continuo). Choralgesange, No. 100. (b)For the melody of the concluding Choral of the Cantata, the anonymous “Nun lasst uns Gott dem Herren,” see Cantata 79. The words of the Choral are the ninth and tenth stanzas of Paul Gerhardt’s Morning Hymn, “Wach auf, mein Herz, und singe,” first published in the 1647 (Berlin) edition of Crüger’s Praxis Pietatis Melica, to the above melody:
Translations of the Hymn are noted in the Dictionary of Hymnology, p. 1229. Form. Embellished (3 Ob., Strings, Continuo). Choralgesange, No. 268. [Back to Table of Contents]Cantata CXCV.Dem Gerechten muss das Licht1 . For a Wedding (? c. 17262 )The melody of the concluding Choral is Nicolaus Herman’s “Lobt Gott, ihr Christen alle gleich” (see Cantata 151). The words of the Choral are the first stanza of Paul Gerhardt’s Hymn of Thanksgiving, “Nun danket all’ und bringet Ehr’,” first published, to Herman’s tune (supra), in the 1647 (Berlin) edition of Crüger’s Praxis Pietatis Melica:
Form. Embellished (2 Corni, Timp., 2 Fl., 2 Ob., Strings, Continuo). Choralgesange, No. 236. [Back to Table of Contents]Cantata CXCVII.Gott ist uns’re Zuversicht. For a Wedding4 (c. 1740)(a)The words and melody of the concluding movement of Part I (Vor der Trauung) of the Cantata are Luther’s “Nun bitten wir den heiligen Geist” (see Cantata 169). The words are the third stanza of the Hymn:
Form. Simple1 . Choralgesange, No. 255. (b)The words and melody of the concluding Choral of the Cantata are Georg Neumark’s Hymn, “Wer nur den lieben Gott lasst walten” (see Cantata 21). The words are the seventh stanza of the Hymn; the first four lines, however, have been rewritten:
Form. Simple (Continuo). Choralgesänge, No. 370. [Back to Table of Contents]Cantata CXCIX.Mein Herze schwimmt im Blut. Eleventh Sunday after Trinity (c. 17141 )The melody of the sixth movement is Caspar Stieler’s (?) “Wo soll ich fliehen hin” (see Cantata 163). The words of the Choral are the third stanza of Johann Heermann’s Hymn, “Wo soll ich fliehen hin” (see Cantata 5):
Form. Soprano Unison Choral (Viola obbligato, Continuo [con Violone]). [Back to Table of Contents]THE UNFINISHED CANTATAS1[Back to Table of Contents]I.Ehre sei Gott in der Hohe2 . Christmas Day (? 1728)The melody of the concluding Choral is the 1679 tune, “O Gott, du frommer Gott,” or “Die Wollust dieser Welt” (see Cantata 45). The words of the Choral are the fourth stanza of Caspar Ziegler’s Christmas Hymn, “Ich freue mich in dir” (see Cantata 133):
Form. Simple3 . Choralgesänge, No. 277. [Back to Table of Contents]III.Herr Gott, Beherrscher aller Dinge. For a Wedding1 (before 1733)The words and melody of the concluding Choral are Joachim Neander’s Hymn of Thanksgiving, “Lobe den Herren, den mächtigen König der Ehren” (see Cantatas 57, 137). The words are the fourth and fifth stanzas of the Hymn:
Form. Embellished (3 Trombe, Timpani, 2 Ob., Strings, Continuo). Choralgesange, No. 230. [Back to Table of Contents]THE CANTATAS OF DOUBTFUL AUTHENTICITY1[Back to Table of Contents]II.Gott der Hoffnung erfulle euch2 . Whit Sunday Melody: “Komm, Gott Schopfer, heiliger Geist” Anon. 1524  Melody: “Komm, Gott Schopfer, heiliger Geist” Anon. 1535 The words and melody of the concluding Choral are from Luther’s Hymn, “Komm, Gott Schopfer,” a translation of the “Veni Creator Spiritus,” first published, with the melody, in the Erfurt Enchiridion Oder eyn Handbuchlein (Erfurt, 1524) and in Klug’s Geistliche Lieder (Wittenberg, 1535 [1529]). The melody is that of the Latin Hymn. The melody does not occur elsewhere in the Cantatas, Oratorios, or Motetts. There is another harmonisation of it in the Choralgesange, No. 218. Organ Works, N. xv. 97; xvii. 82. The words of the Choral are the first stanza of Luther’s Hymn:
Translations of the Hymn into English are noted in the Dictionary of Hymnology, p. 1209. Form. Embellished (2 Corni, Strings, Continuo). Choralgesange, No. 219. [Back to Table of Contents]III.Siehe, es hat überwunden der Lowe. Feast of St Michael the ArchangelFor the melody of the concluding Choral, the anonymous “Wo Gott der Herr nicht bei uns hält,” see Cantata 73. The words of the Choral are the ninth and tenth stanzas of Justus Gesenius’ (?) Hymn “für den Schutz der Heil. Engel,” “O Gott, der du aus Herzensgrund,” first published, to the melody “Wo Gott der Herr” (supra), in the New Ordentlich Gesang-Buch (Hanover, 1646). Gesenius was born at Esbeck, in Hanover, in 1601. In 1636 he became Court preacher and chaplain at the Cathedral in Hildesheim and in 1642 was appointed chief Court preacher and General Superintendent of Hanover. With David Denicke he edited the Hanoverian Hymn books of 1646-59. He died in 1673:
Form. Embellished (2 Trombe). Choralgesange, No. 387. [Back to Table of Contents]IV.Lobt ihn mit Herz und Munde1The words and melody of the opening Choral are Ludwig Helmbold’s Hymn, “Von Gott will ich nicht lassen” (see Cantatas 11 and 73). The words are the fifth stanza of the Hymn:
Form. Simple3 . Choralgesange, No. 327. [Back to Table of Contents]THE MOTETTS[Back to Table of Contents]I.Singet dem Herrn ein neues Lied1The middle section of the Double Chorus (Andante sostenuto) introduces (Coro II (only the third stanza of Johann Graumann’s Hymn, “Nun lob’, mein’ Seel’, den Herren,” with Johann Kugelmann’s (?) melody (see Cantata 17):
Form. Extended. The lines of the Hymn, sung by Coro II, are interrupted by fragments of the first movement (Allegro moderato) introduced by Coro I as interludes. [Back to Table of Contents]II.Der Geist hilft unsrer Schwachheit auf1 (1729)The words and melody of the concluding Choral are Luther’s Whitsuntide Hymn, “Komm, heiliger Geist, Herre Gott” (see Cantata 59). The words are the third stanza of the Hymn:
Form. Simple. Choralgesange, No. 2212 . [Back to Table of Contents]III.Jesu, meine Freude3 (1723)The melody of the four Choral movements of the Motettis Johann Crüger’s setting of Johann Franck’s Hymn, “Jesu, meine Freude” (see Cantata 64). (a)The words of the opening Choral are the first stanza of the Hymn:
Form. Simple. Choralgesange, No. 196. (b)The words of the third movement are the second stanza of the Hymn:
Form. Simple (S.S.A.T.B.). Choralgesange, No. 198. (c)The words of the seventh movement are the fourth stanza of the Hymn:
Form. Simple. The lower parts, however, exhibit a freedom which is not found in the pure Simple form. Choralgesänge, No. 199. (d)The words of the concluding Choral are the sixth stanza of the Hymn:
Form. Simple. Choralgesange, No. 196. [Back to Table of Contents]IV.Fürchte dich nicht, ich bin bei dir1 Melody: “Warum sollt’ ich mich denn grämen” Johann Georg Ebeling 1666  Reconstruction 1713 The melody of the Choral, upon which the Sopranos of Coro I and II combine in the last section of the Motett, is Johann Georg Ebeling’s setting of Paul Gerhardt’s Hymn, “Warum sollt’ ich mich denn gramen,” first published, with the Hymn, in Gerhardt’s Geistliche Andachten Bestehend in hundert und zwanzig Liedern (Berlin, 1666). The melody also occurs in the “Christmas Oratorio,” No. 33, and there is a harmonisation of it in the Choralgesange, No. 334. In the Oratorio Bach uses only the first half of the tune, and except for the latter half of the second and first part of the third lines of the Hymn, follows Daniel Vetter’s reconstruction of the melody in his Musicalische Kirch- und Hauss-Ergötzlichkeit (Leipzig, Part II, 1713). There is earlier authority for Bach’s innovations, excepting his lines 3 and 6. In the Motett he follows Vetter, excepting the last three bars (supra), where his version seems to be his own. The Choralgesange form is identical with the Oratorio movement, but with Vetter’s version of the fourth line of the Hymn. The words of the Choral are the eleventh and twelfth stanzas of Gerhardt’s Hymn, first published, to another melody, in the 1653 (Berlin) edition of Crüger’s Praxis Pietatis Melica:
Form. Choral Fantasia in Motett form, the three lower parts working out a subject fugato. [Back to Table of Contents]V.Komm, Jesu, komm1 Melody: “Komm, Jesu, komm” J. S. Bach The melody of the concluding Choral, in form an Aria rather than a Hymn tune (cf. the “Christmas Oratorio,” No. 42), is by Bach himself and is built upon the subject of the preceding Double Chorus. The melody does not occur elsewhere. The words of the Choral are the eleventh stanza of the anonymous Hymn, “Komm, Jesu, komm,” published in Paul Wagner’s Andachtiger Seelen geistliches Brand- und Gantz-Opfer. Das ist: vollstandiges Gesangbuch (Leipzig, 1697). In the Jakob-Richter Allgemeines vierstimmiges Kirchen-und Haus-Choralbuch (Berlin [1873]) the Hymn is printed to a melody that is said to come from the ms. Hymn book of the Church at Nieder Wiese, 1773. Johann Christoph Schwedler (1672-1730) was assistant there in 1698, after taking his degree at Leipzig in the previous year. Can he be the author of the Hymn, and have communicated it to Wagner at Leipzig? It is not found in any earlier Hymn book:
Form. Simple1 . Choralgesange, No. 222. [Back to Table of Contents]APPENDIX IHymn Melodies that occur in the “Passions” and Oratorios but are not found in the Cantatas and Motetts(1) Melody: “Christus, der uns selig macht” “Patris Sapientia” 1531  Melody: “Christus, der uns selig macht” Reconstruction 1598 The melody, “Christus, der uns selig macht,” was first published in Ein New Gesengbuchlen (Jung Bunzlau, 1531), set to Michael Weisse’s free translation of the Hymn, “Patris sapientia, veritas divina.” The tune probably is an adaptation of that of the Latin original. The melody occurs in the “St John Passion,” Nos. 12 and 35 (Choralgesänge, Nos. 49, 50). There is another harmonisation of it in the Choralgesange, No. 48. The last conforms to the 1531 text of the tune. The two settings in the “St John Passion” follow Seth Calvisius’ reconstruction of the melody, published in his Harmonia Cantionum ecclesiasticarum (Leipzig, 1598). Organ Works, N. xv. 64 (1531 version). (2) Melody: “Es sind doch selig alle” Matthaus Greitter 1525 The melody “Es sind doch selig alle,” or “O Mensch, bewein’ dein’ Sünde gross,” most probably was composed by Matthaus Greitter, and was published in Part III of the Strassburg Kirchēampt mit lobgsengen (Strassburg, 1525). It is set to Greitter’s Psalm cxix in the Strassburg Psalmen of 1526. Its association with Sebald Heyden’s Hymn, “O Mensch, bewein’,” dates from c. 1584. The melody occurs in the “St Matthew Passion,” No. 35. There is another harmonisation of it in the Choralgesange, No. 286. Organ Works, N. xv. 69. (3) Melody: “Gott des Himmels und der Erden” Heinrich Albert 1642  Melody: “Gott des Himmels und der Erden” Reconstruction 16871 The melody, “Gott des Himmels und der Erden,” was composed by Heinrich Albert and was first published, with the Hymn (of which he was the author), in Part V of his Arien oder Melodeyen (Königsberg, 1642). The melody occurs in the “Christmas Oratorio,” No. 53 (Choralgesange, No. 114). In the third bar (supra) Bach follows Daniel Vetter’s Hymn book (1713). His own closing cadence was prescribed by the fact that his Hymn text contained one syllable more than Albert’s original. (4) Melody: “Herzliebster Jesu” Johann Cruger 1640 The melody, “Herzliebster Jesu, was hast du verbrochen,” was composed by Johann Crüger for that Hymn (by Johann Heermann), and was first published in his Newes vollkömliches Gesangbuch (Berlin, 1640). The melody occurs in the “St Matthew Passion,” Nos. 3, 25, 55; and the “St John Passion,” Nos. 4, 15 (Choralgesange, Nos. 166-169). The F sharp which Bach introduces at the fifth note of the tune dates from 1694. (5) Melody: “O Lamm Gottes unschuldig” Nicolaus Decius 1542 Another form 1545 The melody, “O Lamm Gottes unschuldig,” was composed or adapted by Nicolaus Decius for his translation of the “Agnus Dei,” and was first published in the Christliche Kirchen-Ordnung (Erfurt, 1542). The melody occurs in the “St Matthew Passion,” No. 1. There is a harmonisation of it in the Choralgesange, No. 285. Organ Works, N. xv. 58; xvii. 32. Bach generally follows a reconstruction of the melody in Johann Spangenberg’s Kirchengesenge Deudtsch (Magdeburg, 1545). In the Choral Prelude, N. xvii. 32, he prefers a later (1598) text. (6) Melody: “Vom Himmel hoch” ? Martin Luther 1539 The melody, “Vom Himmel hoch da komm ich her,” is with probability attributed to Luther. It was first published, with the Hymn, in Valentin Schumann’s Geistliche lieder auffs new gebessert (Leipzig, 1539). The melody occurs in the “Christmas Oratorio,” Nos. 9, 17, 23 (Choralgesange, No. 323). Organ Works, N. xv. 21; xix. 14, 16, 19. Bach also wrote a set of five Variations in Canon on the tune (N. xix. 73). [Back to Table of Contents]APPENDIX IITranslationsNote. The Roman numerals preceding a stanza indicate its number in the German Hymn. The Arabic numbers in brackets following the first line of a stanza state the Cantata or Motett in which it occurs; plain numerals indicate the Cantatas; M, Motetts; U, Unfinished Cantatas; D, Cantatas of doubtful authenticity. The capital letters at the foot of the translations show the source of the latter, as follows: A. Novello & Co.’s Original Octavo Edition. B. “The Chorale Book for England; the Hymns from the Lyra Germanica and other sources, translated by Catherine Winkworth; the tunes from the sacred music of the Lutheran, Latin, and other Churches, compiled and edited by William Sterndale Bennett and Otto Goldschmidt.” London, 1865. C. Breitkopf & Haertel’s (J. and W. Chester) English Edition of Bach’s Cantatas. D. Trans. C. S. T. E. “Lyra Germanica: Hymns for the Sundays and Chief Festivals of the Christian Year. Translated from the German.” By Catherine Winkworth. New Edition. London, 1864. E (ii). “Lyra Germanica: Second Series: The Christian Life. Translated from the German.” By Catherine Winkworth. Fifth Edition. London, 1863. F. “The Church Hymnary.” Edinburgh, 1904. G. “A Compendious Book of godly and spiritual songs: commonly known as ‘The Gude and Godlie Ballatis.’ Reprinted from the edition of 1567.” Edited by A. F. Mitchell, D.D., LL.D. Scottish Text Society. Edinburgh, 1897. H. “Songs of Syon. A Collection of Psalms, Hymns, and Spiritual Songs set, for the most part, to their Ancient Proper Tunes, edited by the Rev. G. R. Woodward, M.A., Author of the Cowley Carol-Book.” Third Edition, revised and enlarged. London, 1910. I. “Remains of Myles Coverdale, Bishop of Exeter. Containing...Ghostly Psalms and Spiritual Songs.” Edited for the Parker Society, by the Rev. George Pearson. Cambridge, 1846. K. “Christian Singers of Germany.” By Catherine Winkworth. London, 1869. L. “Psalmodia Germanica: or, A Specimen of Divine Hymns, Translated from the High Dutch.” By John Christian Jacobi. London, 1722. M. “Exotics: A Translation of the Spiritual Songs of Novalis, the Hymn-Book of Luther, and other Poems from the German and Italian.” By George Macdonald. London, 1876. N. “Liturgy and Hymns for the use of the Protestant Church of The Unity of the Brethren or Unitas Fratrum. A New and Revised Edition.” London, 1906. O. “Psalms and Hymns, partly original, partly selected, for the use of the Church of England.” By the Rev. Arthur T. Russell. Cambridge, 1851. P. “The Family Treasury. Containing contributions by well-known writers in all departments of religious literature.” London, 1877. 1.Ach bleib’ bei uns, Herr Jesu Christ
2.Ach Gott und Herr
3.Ach Gott, vom Himmel sieh’ darein
4.Ach Gott, wie manches Herzeleid
5.Ach Herr, mich armen Sünder
6.Ach, lieben Christen, seid getrost
7.Ach wie flüchtig
8.Alle Menschen müssen sterben
9.Allein zu dir, Herr Jesu Christ
10.Also hat Gott die Welt geliebt
11.Auf Christi Himmelfahrt allein
12.Auf, mein Herz! des Herren Tag
13.Auf meinen lieben Gott
14.Aus tiefer Noth schrei ich zu dir
15.Barmherzger Vater, hochster Gott
16.Befiehl du deine Wege
17.Christ ist erstanden
18.Christ lag in Todesbanden
19.Christ unser Herr zum Jordan kam
20.Christe, du Lamm Gottes
21.Christum wir sollen loben schon
22.Christus, der ist mein Leben
23.Das neugebor’ne Kindelein
24.Der Herr ist mein getreuer Hirt
25.Der Herr ist mein getreuer Hirt
26.Du Friedefurst, Herr Jesu Christ
27.Du Lebensfurst, Herr Jesu Christ
28.Du, O schönes Weltgebaude
29.Durch Adams Fall ist ganz verderbt
30.Ein’ feste Burg ist unser Gott
31.Ein Kind geborn zu Bethlehem
32.Erhalt’ uns, Herr, bei deinem Wort
33.Erschienen ist der herrlich’ Tag
34.Es ist das Heil uns kommen her
35.Es ist genug: so nimm, Herr, meinen Geist
36.Es woll’ uns Gott genädig sein
37.Freu’ dich sehr, O meine Seele
38.Freuet euch, ihr Christen alle
39.Gelobet sei der Herr
40.Gelobet seist du, Jesu Christ
41.Gott fahret auf gen Himmel
42.Gott Vater, sende deinen Geist
43.Hast du denn, Jesu, dein Angesicht gantzlich verborgen
44.Helft mir Gott’s Güte preisen
45.Herr Christ, der einig’ Gott’s Sohn
46.Herr Gott, dich loben alle wir
47.Herr Gott dich loben wir
48.Herr Jesu Christ, du höchstes Gut
49.Herr Jesu Christ, ich schrei zu dir
50.Herr Jesu Christ, ich weiss gar wohl
51.Herr Jesu Christ, wahr’r Mensch und Gott
52.Herr, wie du willt, so schick’s mit mir
53.Herzlich lieb hab’ ich dich, O Herr
54.Herzlich thut mich verlangen
55.Ich armer Mensch, ich armer Sünder
56.Ich dank’ dir, lieber Herre
57.Ich freue mich in dir
58.Ich hab’ in Gottes Herz und Sinn
59.Ich ruf’ zu dir, Herr Jesu Christ
60.Ich will zu aller Stunde
61.In allen meinen Thaten
62.In dich Hab ich gehoffet, Herr
63.Ist Gott mein Schild und Helfersmann
64.Jesu, der du meine Seele
65.Jesu Leiden, Pein und Tod
66.Jesu, meine Freude
67.Jesu, meiner Seelen Wonne
68.Jesu, nun sei gepreiset
69.Komm, Gott Schöpfer, heiliger Geist
70.Komm, heiliger Geist, Herre Gott
71.Komm, Jesu, komm, mein Leib ist müde
72.Kommt her zu mir, spricht Gottes Sohn
73.Kommt, lasst euch den Herren lehren
74.Liebster Gott, wann werd’ ich sterben?
75.Liebster Immanuel, Herzog der Frommen
76.Lobe den Herren, den machtigen Konig der Ehren
77.Lobt Gott, ihr Christen alle gleich
78.Mache dich, mein Geist, bereit
79.Mach’s mit mir, Gott, nach deiner Güt
80.Meine Seel’ erhebt den Herren
81.Meinen Jesum lass’ ich nicht
82.Mit Fried’ und Freud’ ich fahr’ dahin
83.Nimm von uns, Herr, du treuer Gott
84.Nun bitten wir den heiligen Geist
85.Nun danket alle Gott
86.Nun danket all’ und bringet Ehr’
87.Nun komm, der Heiden Heiland
88.Nun lasst uns Gott dem Herren
89.Nun lob’, mein’ Seel’, den Herren
90.O Ewigkeit, du Donnerwort
91.O Gott, der du aus Herzensgrund
92.O Gott, du frommer Gott
93.O Gottes Geist, mein Trost und Rath
94.O grosser Gott von Macht
95.O Haupt voll Blut und Wunden
96.O Herre Gott, dein göttlich Wort
97.O Jesu Christ, mein’s Lebens Licht
98.O Jesu, meine Lust
99.Schau’, lieber Gott, wie meine Feind’
100.Schmucke dich, O liebe Seele
101.Schwing’ dich auf zu deinem Gott
102.Sei Lob und Ehr’ dem höchsten Gut
103.Selig ist die Seele
104.Singen wir aus Herzensgrund
105.So wahr ich lebe, spricht dein Gott
106.Treuer Gott, ich muss dir klagen
107.Tröstet, trostet, meine Lieben
108.Valet will ich dir geben
109.Verleih’ uns Frieden gnadiglich
110.Verzage nicht, du Hauflein klein
111.Von Gott will ich nicht lassen
112.Wach auf, mein Herz, und singe
113.Wachet auf, ruft uns die Stimme
114.War’ Gott nicht mit uns diese Zeit
115.Warum betrübst du dich, mein Herz?
116.Warum sollt’ ich mich denn gramen
117.Was alle Weisheit in der Welt
118.Was frag ich nach der Welt
119.Was Gott thut, das ist wohlgethan
120.Was mein Gott will, das g’scheh’ allzeit
121.Was willst du dich betrüben
122.Weg, mein Herz, mit den Gedanken
123.Welt, ade! ich bin dein müde
124.Wenn einer alle Ding verstünd
125.Wenn mein Stündlein vorhanden ist
126.Wer nur den lieben Gott lasst walten
127.Wer weiss, wie nahe mir mein Ende
128.Werde munter, mein Gemüthe
129.Wie schön leuchtet der Morgenstern
130.Wir Christenleut’
131.Wo Gott der Herr nicht bei uns halt
132.Wo soll ich fliehen hin
133.Wohl dem, der sich auf seinen Gott
134.Zeuch ein zu deinen Thoren
135.Zion klagt mit Angst und Schmerzen
APPENDIX IIIThe Original Texts of Bach’s Oratorios, “Passions,” Masses, Cantatas, and MotettsExcepting the tunes that he wrote for Schemelli’s Hymn book, and the parts of Cantata 71 (Mühlhausen, 1708), not a note of Bach’s concerted Church music was printed until after his death. The publication of Forkel’s biography in 1802 excited a slowly rising tide of interest. In 1803 Breitkopf & Haertel published Motetts 1, 2, 3, 4, 5. In 1811 Simrock, of Bonn, published (in E flat ma.) the Magnificat, and in 1818 the Mass in A major. In 1830 the Score of the “St Matthew Passion” was published by Schlesinger. Trautwein brought out the “St John Passion” in 1831. In 1833 Nageli, of Zürich, issued the “Kyrie” and “Gloria” of the B minor Mass, and Simrock printed the remainder of the work in 1845. The first Cantata to be published was “Ein’ feste Burg,” No. 80, printed by Breitkopf & Haertel in 1821. In 1830 Simrock issued six more: “Nimm von uns, Herr,” No. 101; “Herr, deine Augen sehen nach dem Glauben,” No. 102; “Ihr werdet weinen und heulen,” No. 103; “Du Hirte Israel, höre,” No. 104; “Herr, gehe nicht in’s Gericht,” No. 105; and “Gottes Zeit ist die allerbeste Zeit,” No. 106. In 1843 Trautwein published four more: “Nimm, was dein ist, und gehe hin,” No. 144; “Himmelskonig, sei willkommen,” No. 182; “Barmherziges Herze der ewigen Liebe,” No. 185; and “Siehe zu, dass deine Gottesfurcht,” No. 179. Finally, in 1847, Breitkopf & Haertel issued “Warum betrübst du dich.” No. 138; “Wachet auf, ruft uns die Stimme,” No. 140; and “Also hat Gott die Welt geliebt,” No. 68, as a supplement to Winterfeldt’s “Evangelischer Kirchengesang,” Bd. iii. Thus, no more than fourteen Cantatas were in print when the systematic publication of Bach’s works began on the foundation of the Bachge |
