Charles Sanford Terry.

Bach's chorals (Volume v.2) online

. (page 1 of 27)
Online LibraryCharles Sanford TerryBach's chorals (Volume v.2) → online text (page 1 of 27)
Font size
QR-code for this ebook


BACH'S CHORALS



BY



CHARLES SANFORD TERRY



PART II

THE HYMNS AND HYMN
MELODIES

OF THE

CANTATAS AND MOTETTS



Cambridge :

at the University Press
1917



^n<^ • ^^m^t^ mv i^ ^



■<sr




C^.^.')



^^m



rnrrn




m %



1 ■ ..^'




m



M^






m



:y?)M47^



SjftJUCuJL ^O^KCL



Digitized by the Internet Archive

in 2009 with funding from

Boston Library Consortium IVIember Libraries



http://www.archive.org/details/bachschorals02terr



BACH'S CHORALS

PART I

THE 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 III

THE CHORALS OF THE ORGAN
WORKS

(/« the Press)



BACH'S CHORALS



CAMBRIDGE UNIVERSITY PRESS

C. F. CLAY, Manager

lianHon: FETTER LANE, E.C.

lEliinbtirgI) : loo PRINCES STREET




^m Irtk : G. P. PUTNAM'S SONS

Bomtas, (TalfiittH nnt fflaUras: MACMILLAN AND CO., Ltd.

aratonlo: J. M. DENT AND SONS, Ltd,

aioftso: THE MARUZEN-KABUSHIKI-KAISHA



Al/ rights 7-eservt'd



BACH'S CHORALS



BY

CHARLES SANFORD TERRY



PART II

THE HYMNS AND HYMN
MELODIES

OF THE

CANTATAS AND MOTETTS



Cambridge :

at the University Press
1917



\ ^1^7^










PREFATORY NOTE

IN Part I of this work the Hymns and Hymn
melodies of the " Passions " and Oratorios
have been dealt with. I'n the present volume those
of the Cantatas and Motetts are considered. The
Hymn melodies of the Organ Works are reserved
for Part HI.

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 dltesten Zeit bis
zu Anfang des XVII Jahrhundei^ts (Leipzig, 5 vols.



1864-77) or Albert Fischer and W. Tiimpel's Das
deutsche evangelische Kirchenlied des siebzehnten
Jahrhunderts (Giitersloh, 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 works^ Thus, Bach's
treatment of a particular tune can be studied ex-
haustively.

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.

1 The references throughout are to Novello's Edition of Bach's
Organ Works, Books xv-xix.



VI 1

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 Uni-
versities of Scotland towards the publication of
this work.

C. S. T.

King's College,
Old Aberdeen.
Ja7inary^ 191 7-



CONTENTS



Prefatory Note
Introduction

The Cantatas

The Choral Cantatas

The Choral Fantasia

The Simple Choral

The Embellished Choral

The Exte7tded Choral

The Unison Choral

The Aria Choral .

The Dialosjus Choral

The Motetts .

The Hynifis of the '■'■Passions" Oratorios, Cantatas,
and Motetts.

The Hymn Times tised by Bach

Bach's original Hymn Tunes
The Cantatas ....
The Unfinished Cantatas
The Cantatas of Doubtful Authenticity

The Motetts

Appendix I. Hymn Melodies that occur in the

" Passions " and Oratorios, but are not found in

the Cantatas and Motetts

Appendix II. Translations

Appendix III. The Original Texts of Bach's Ora-
torios, " Passions," Masses, Cantatas, and Motetts



I

I

26

35

37

38
40

41
41

42

44

46

56

67

129

477
479



491
497

573



MELODIES



A solis ortus cardine (1537)

Ach Gott und Herr (1625 & 1655)

Ach Gott, vom Himmel sieh darein (1524)

Ach wie fliichtig (1652 & 1661) .

Ainsi qu'on oit le cerf bruire (1542) .

AUe Menschen miissen sterben (1652 & 1715)

AUein Gott in der Hoh' sei Ehr' (1539)

Allein zu dir, Herr Jesu Christ {c. 1541 & 1545)

Also hat Gott die Welt geliebt (1682)

Auf meinen lieben Gott (1609)

Aus tiefer Noth schrei ich zu dir (1524)

Bleiches Antlitz, sei gegriisset (1686) . . -

Christ ist erstanden (1535) ....

Christ lag in Todesbanden (1524)

Christ unser Herr zum Jordan kam (1524)

Christe, du Lamm Gottes (1557).

Christum wir soUen loben schon (1524)

Christus, der ist mein Leben (1609) .

Christus, der uns selig macht (1531 & 1598)

Da_ Christus geboren war (1544) .

Danket dem Herrn, heut und allzeit (1594)

Das neugebor'ne Kindelein (1609)

Die Wollust dieser Welt (1679) •

Dies sind die heil'gen zehn Gebot' (1524) .

Du Friedefiirst, Herr Jesu Christ (1601)

Du, O schdnes Weltgebaude (1649) .

Durch Adams Fall ist ganz verderbt (1535)

Ein Kind geborn zu Bethlehem (1543 & 1553)

Ein' feste Burg (1535) • • . ' •

Einen guten Kampf hab' ich (17 13) .

Erhalt' uns, Herr, bei deinem W^ort (1543)



PAGE

• 367

• 237

• 132

• 193
. 164

434, 435

• 305
. 205
. 269
. 142

• 213
. 218
. 265

137, 138

• 149
. 188

• 368

• 326

■ 491

• 465

■ 145

• 369
. 231
. 287
. 268

• 245
. 178

261, 262

• 297
. 218

• 147



XI



PAGE

Ermuntre dich, mein schwacher Geist (1641) . .158
Erschienen ist der herrlich' Tag (1560) . . . 266
Erstanden ist der heil'ge Christ (1555) . . . 267
Es ist das Heil uns kommen her (1524) . . -154

Es ist genug (1662) 253

Es sind doch selig alle (1525) 492

Es woir uns Gott genadig sein (1525) . . . 271
Freuet euch, ihr Christen alle (1646) .... 220

Gelobet seist du, Jesu Christ (1524) .... 257

Gieb unsern Fiirsten (1566) ...... 226

Gloria in excelsis Deo (1545) ..... 305

Gott des Himmels und der Erden (1642 & 1687) . 493
Grates nunc omnes reddamus (1524) .... 257

Hast du denn, Liebster, dein Angesicht (1665) . . 247
Helft mir Gott's Giite preisen (1575 [1569]) . . 160
Herr Christ, der einig' Gott's Sohn (1524). . -. 186
Herr Gott dich loben wir (1535) . . 173, 365, 366

Herr, ich habe missgehandelt (1649) • . . • 435
Herr Jesu Christ, du hochstes Gut (1593) • • • 239
Herr, wie du willt, so Schick's mit mir (1525) . . 426
Herzlich lieb hab' ich dich, O Herr (1577) . .417
Herzlich thut mich verlangen (1601) . . . . 395

Herzliebster Jesu, was hast du verbrochen (1640) . 494
Hilf mir, Herr Jesu, weil ich leb' (1602) . . .134
Ich dank' dir, Heber Herre (1662) . . . .212

Ich freue mich in dir {c. 1735) .... 391, 392

Ich hab' mein Sach' Gott heimgestellt (1609) . . 344
Ich hort ein Fraulein klagen (1549) .... 186

Ich ruf zu dir, Herr Jesu Christ (1535) . . -451
Ich weiss mir ein Roslein hiibsch und fein (1589) . 343

II n'y a icy celluy (^.1551) 385

In dich hab' ich gehoffet, Herr (i 581) . . . 242
In Gottes Namen fahren wir (1536) .... 287
Ist Gott mein Schild und Helfersmann (1694) . . 307
Jesu, der du meine Seele (1641). .... 434



Xll



PAGE

Jesu Kreuz, Leiden und Pein (1609) . . . .431

Jesu, meine Freude (1653) 260

Jesu, nun sei gepreiset (1591) 222

Jesus, meine Zuversicht (1653) . . . . .412
Komm, Gott Schopfer, heiliger Geist (1524 & 1535). 479
Komm, heiliger Geist, Herre Gott (1535) • • • 250

Komm, Jesu, komm . 489

Kommt her zu mir, spricht Gottes Sohn (1530) . 283

Liebster Gott, wann werd' ich sterben (1713) - . 151
Liebster Immanuel, Herzog der Frommen (1679) . 372
Lob' Gott getrost mit Singen (1544) • . • .211
Lobt Gott, ihr Christen alle gleich (1554) • . ■ 419
Mach's mit mir, Gott, nach deiner Giit' (1628) . . 402
Meine Hoffnung stehet feste (1680) .... 218
Meinen Jesum lass' ich nicht (1659) .... 274
Mit Fried' und Freud' ich fahr' dahin (1524) . . 302
Nun bitten wir den heiligen Geist (1524) . . . 445

Nun danket alle Gott (1648) 293

Nun freut euch, lieben Christen g'mein (1535) . . 277
Nun komm, der Heiden Heiland (1524) . . . 208
Nun lasst uns Gott dem Herren (1575 & 1587) . 295
Nun lob', mein' Seel', den Herren (1540) . . -175
O Ewigkeit, du Donnerwort (1653) . . . .181
O Gott, du frommer Gott (1693) . . . .190

O grosser Gott von Macht (1632) .... 233
O Herre Gott, dein gottlich Wort (1527) . . . 462
O Jesu Christ, mein's Lebens Licht (1625) . -134
O Lamm Gottes unschuldig (1542 & 1545) . . 495

O stilles Gottes Lamm (1738) 392

O Welt, ich muss dich lassen (1539) .... 167
On a beau son maison bastir (155 • • . . 379
Or sus, serviteurs du Seigneur (1551) . . . 385

Puer natus in Bethlehem (1543 &: 1553) • - 261, 262
Schmiicke dich, O liebe Seele (1649) .... 457
Schonster Immanuel, Herzog der Frommen (1698) . 372



Xlll



Singen wir aus Herzensgrund (1589) .
Straf mich nicht in deinem Zorn (1694)
Valet will ich dir geben (1614) .
Vater unser ini Himmelreich (1539) .
Veni Redemptor gentium (1531)
Venus du und dein Kind (1574) •
Verleih' uns Frieden gnadiglich (1535)
Vom Himmel hoch da komm ich her (1539)
Von Gott will ich nicht lassen (1572 [1571])
Wach auf, mein Geist (1642)
Wachet auf, ruft uns die Stimme (1599)
Wachet doch, erwacht, ihr Schlafer (1662)
War' Gott nicht mit uns diese Zeit (1524).
Warum betriibst du dich, mein Herz (1565)
Warum soUt' ich mich denn gramen (1666 & 17
Was Gott thut, das ist wohlgethan (1690) .
Was mein Gott will, das g'scheh' allzeit (1572 [
Was willst du dich betriiben (1704) •
Welt, ade ! ich bin dein miide (1682)
Wenn mein Stiindlein vorhanden ist (1569)
Wer nur den lieben Gott lasst walten (1657)
Werde munter, mein Gemiithe (1642).
Wie schon leuchtet der Morgenstern (1599)
Wir Christenleut' (1593) ....
Wo Gott der Herr nicht bei uns halt (1535)
Wo soil ich fliehen hin (1679)

Index



13)
571])



PAGE
466

359
328
312
208
142
226
496

159
181
404
290
169

235
487
162
263
346
196
171
184
244
129
216
280
438

585



i8 n. 2)
I'j n. if



PART I
ADDENDA AND ERRATA

PAGE

vi 11. ro-ii. Delete which... century.

1. 13. 7^£ir Johann Criiger r^ao? Paul Wagner,

vni 1. 10. The melody " In dich hab' ich gehoffet, Herr," in

the Orgelbilchlein is not the one used by Bach

elsewhere.
II n. I, 2. Bach's lines are found in the 1644 edition of Heer-

mann's Devoti Musica Cordis.
13 1. 8. For oi 7'eadm.

Bach's line conforms to the 1653 edition of the

Praxis Pietatis Melica.
22 n. I. For Weltgenrichte read Weltgewichte. In the

second line of the second stanza of Gerhardt's

Hymn the edition of 1656 has Dafiiryw^ Vor dem.
31 No. 15. In the second line of the eighth stanza of Heermann's

Hymn the original (1630) text has so\che for diese.

The third line, as Bach sets it, follows the 1644

text of Heermann's Hymns more closely. In the

ninth stanza, line 2, the original (1630) text has

ErbarmungT^r Erbarmen.

42 No. 7. The melody, " Gelobet seist du, Jesu Christ," is

derived from that of the Latin sequence, " Grates
nunc omnes reddamus."

43 n. I. Fomxinreadin.

52. In the second line of Runge's stanza the original

{1653) text has Itzt for Dass.
55. In the last line of Rist's stanza the original (1642)

text has Jesvts/or Jesu.
58. In the last line but one of Franck's stanza the

original (1674) text has denselben y2)r dieselbe,

and in the last line es /or sie.
62 1. 12. jFiir Eucharistic rm^ Ascensiontide.



INTRODUCTION



The Cantatas



There 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
annuallyi. 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 Friede-
furst, Herr Jesu Christ" (No. 116), written for
the Twenty-fifth Sunday after Trinity, November
IS. 1744^- It is therefore reasonable to limit his

1 Concerted music was not sung at Leipzig during the six Sundays
of Lent and the last three of Advent. Cantatas were required on
forty-three Sundays and sixteen weekday Festivals.

2 Johmtn Sebastian Bach : His Work and Influence otz the Music
of Gerfuany, 1685-1750. By Philipp Spitta. Translated from the
German by Clara Bell and J. A. Fuller Maitland (3 vols., London,
1897-99), III. 91.

T. B. C. J



2 INTRODUCTION

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 months If it be remem-
bered 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 it".

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 Puri-
fication of the B. V. M., and the Feast of St Michael
the Archangel (one of which is of doubtful authen-
ticity). There are four Cantatas in every case for
the Third Sunday after Epiphany, Quinquagesima,
Easter Day, Ascension Day, Sixteenth Sunday

^ During his first eighteen months at Leipzig Bach wrote more
than twenty Sunday Cantatas, besides two sacred Cantatas for
special occasions. See Albert Schweitzer, y. S. Bach (translated
by Ernest Newman, ^ vols., London, 191 1), 11. 164. Bach wrote
about seventy Cantatas after 1734 (see list infra, p. 4), very
nearly half of which are assigned to the years 1735-36 (Schweitzer,
II. 328). In 1735 alone no less than twenty Cantatas werecomposed
by him (Spitta, III. 68). With the exception, perhaps, of a single
Sunday, he wrote a new Cantata for every Sunday and Festival
between Easter and Whitsuntide in that year {Ibid. iii. 70).

- Ibid. II. 349.



INTRODUCTION 3

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 less^

Without reckoning the six Cantatas which form
the "Christmas Oratorio V 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 i, U 2, U 3. Finally,
there are four Cantatas of doubtful authenticity
(B. G. xli) : they are here indicated as D i, D 2
D3, D4.

Four of the Church Cantatas (Nos. D i, D 2,
D3, D4) were written at dates which are not
ascertained.

^ See infra, p. 5.

2 The Oratorio consists of six Cantatas designed respectively for
(i) Christmas Day, (ii) Feast of St Stephen, (iii) Feast of St John
the Evangelist, (iv) New Year's Day (Circumcision), (v) Sunday
after New Year's Day, (vi) Feast of the Epiphany.

I — 2



4 INTRODUCTION

The remaining 202 Cantatas are distributed
between the five periods of Bach's career:

I. (1704-1708.) Arnstadt and MiJHL-
HAUSEN 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. (17 18-1722.) CoTHEN Cantatas (4).
Nos. 47, 134, 141, i73\

IV. (1723-1734.) Leipzig Cantatas (too).
Nos. 4, 8,9, 12, 16, 19, 20, 22, 23 ^ 24, 25, 27, 28^,29,

35, 36, 37, 40, 42, 44, 46, 49, 5i- 52, 55, 5^, 58, 60,
63, 64, 65, 66, 67, 69, 72*, 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 I, U 2,
U3^

V. (1735-1750.) Leipzig Cantatas (72).
Nos. I, 2, 3, 5, 6, 7. 10, II, 13, 14, 17, 26, 30, 32,

33, 34, 38, 39- 41, 43, 45, 48, 50, 53, 54, 57, 62, 6S,
74% 78, 79, 85, 87, 90, 91, 92, 94, 96, TOO, loi, 103,

^ As a Cantata c. 1730.

2 Or late Cothen period. See Wustmann (infra, p. 5, note i),
p. 279.

■' But see Ibid. p. 275. ■* But see Ibid. p. 277.

* But see Ibid. p. 298. * But see Ibid. p. 284.



INTRODUCTION 5

108, no, III, 113, 114, 115, 116, 118, 121, 122, 123,

124, 125, 126, 127, 128, 130, 133, 135, 138, 139,

143' 146, 151, i75> 176, 178, 180, 183, 193, 197.

It will be convenient to group the Church
Cantatas according to the seasons of the Church's
year^ :

Sundays in Advent.

First {Epistle Rom. xiii. 11 -14. Gospel St Matt.
xxi. i-ii).

36 Schwingt freudig euch empor^' 3.

1 A useful publication is Rudolf Wustmann's Jok. Seb. Backs
Kantatentexte im Auftrage der Neuen Bachgesellschaft (Leipzig,
1913)-

- The text of the Cantata is suggested by the Epistle for the Day.

•* The text of the Arias and first Chorus is by Christian Friedrich
Henrici. He was born at Stolpe in 1700, and, about the time of
Bach's appointment as organist, settled in Leipzig, where he held a
position in the Post Office, and later in the Excise. He died in
1764. In 1725 he published a "Collection of profitable thoughts
for and upon the ordinary Sundays and Holy Days" {Sammbmg
Erbaulicher Gedancken, Bey und iiber die geivohnlichen Sonn- und
Festtags-EvangelUn, Leipzig). To avoid the ridicule which his
religious reflexions might arouse, Henrici adopted the pseudonym
"Picander." In 1728 he published a collection of texts for Can-
tatas, the only one of the kind which he brought out: Cantaten auf
die Sonn- tmd Fest-Tage ditrch das gantze Jakr (Leipzig). In the
Preface to the volume he declares that he had been impelled to
write by the prospect of his work's deficiencies being made good
"by the loveliness of the music of our incomparable Kapellmeister
Bach." He must be regarded as the author of most of the Cantatas
Bach composed at Leipzig. But it is difficult to point absolutely to
the texts which are by him, since he published none but those in the



6 INTRODUCTION

6i Nun komm, der Heiden Heiiand^' ^' '.
62 Nun komm, der Heiden Heilandi' ^.

Second. See No. 70. {E. Rom. xv. 4-13.
G. St Luke xxi. 25-36.)

Third {E. i Cor. iv. 1-5. G. St Matt. xi. 2-10).
141 Das ist je gewisslich wahr*.

Fourth^ {E. Phil. iv. 4-7. G. St John i. 19-28).
132 Bereitet die Wege, bereitet die Bahn'^' ^.

collection of 17-28. His. Cantata libretti show facility rather than
sincerity and poetic expression. His power of pictorial representa-
tion commended him to Bach, and there can be little doubt that he
put his texts together in the form in which Bach required them.
Though the list is necessarily incomplete, the following Cantatas
were either positively or probably composed to Picander's texts:
Nos. 6, 30, 36, 42, 67, 73, 84, 93, 144, 145, 148, 156, 157. 159' i7i>
174, 188, U I. See Spitta, li. 340 et seq. on Picander.

^ The text of the Cantata is suggested by the Epistle for the Day.

^ The Cantata bears the title of the first stanza of a congregational
Hymn. See infra the section on the Cantata.

^ Text by Erdmann Neumeister. He was born at Uechtritz,
near Weissenfels, in 1671, was educated at Leipzig University, and,
after holding Court appointments at Weissenfels and Sorau, was
appointed in 17 15 pastor of St James' Church, Hamburg. He died
at Hamburg in 1756. He was a very prolific Hymn writer; over
650 are attributed to him. Of his Cantata texts Bach set eight.
They are Nos. 18, 24, 27, 28, 59, 61, 142, 160. On Neumeister
see Spitta, i. 470 et seq.

■* The text is from a cycle of Church Cantata texts published by
the State Secretary, Johann F. Helbig, at Eisenach, in 1720.

* See also No. 147.

* The text is provided or suggested by the Gospel for the Day.

^ The libretto is one of Salomo Franck's Cantata texts. He was
bom at Weimar in 1659, ^"^^j ^f^^'' holding public appointments at
Arnstadt and Jena, was appointed Curator of the Ducal collection



INTRODUCTION 7

Christmas Day {E. Titus ii. 1 1-14 or Isaiah ix. 2-7.
G. St Luke ii. 1-14).
63 Christen atzet diesen Tag^
91 Gelobet seist du, Jesu Christ^,
no Unser Mund sei voll Lachens^' *.
142 Uns ist ein Kind geboren*' ^' ".
191 Gloria in excelsis Deo''' ®.
U I Ehre sei Gott in der Hohe*- ^.

Feast of St Stephen {E. Titus iii. 4-7 or Acts
vi. 8-15, vii. 51-59. G. St Luke ii. 15-20).
40 Dazu ist erschienen der Sohn Gottes^°.

of coins and medals at Weimar in 1702. fie died at Weimar in
1725. He was a prolific Hymn writer, but none of his Hymns
appears among tlie 1 54 which Bach used for his choral works. On
the other hand, during his residence at Weimar Bach made use of
Franck's Cantata texts, two series of which were published, the first
in his Evangelisches Andachts-Opffer (Weimar, 1715), and the
second in his Evangelische Sonn- und Fest-Tages Andachten
(Weimar & Jena, 1717) (see Spitta, i. 526 et seq., 569 et seq.). The
texts of the following Cantatas are by Franck: Nos. 31, 70, 72, 80,
132, 147, 152, 155, 161, 162, 163, 164, 165, 168, 185, 186, and
perhaps 12, 21, 53, 172, 182. Of these twenty-one Cantatas nine
(Nos. 12, 53, 72, 80, 164, 165, 168, 172, 186) fall within the first
Leipzig period.

1 The text, Wustmann (p. 273) holds, is wrongly attributed to
Picander.

- The Cantata bears the title of the first stanza of a congregational
Hymn. See infra the section on the Cantata.

2 Psalm cxxvi. 2. The author of the libretto is not known
(Wustmann, p. 274). Schweitzer (11. 343) attributes it to Picander.

* Isaiah ix. 6. * Text by Neumeister.

" Bach's authorship is contested. '$,^t.Bachjahrbtich, 191a, p. 132.

7 The "Gloria" of the B mi. Mass.

'* The text is provided or suggested by the Gospel for the Day.

i* Text by Picander. ^^ i St John iii. 8. Text by Bach?



8 INTRODUCTION

57 Selig ist der Mann*.

121 Christum wir soUen loben schon"^.

Feast of St John the Evangelist {E. Heb.
i. I-I2 or I John. G. St John i. 1-14).

64 Sehet, welch' eine Liebe^.
133 Ich freue mich in dir^.

151 Siisser Trost, mein Jesus kommt*.

Sunday after Christmas {E. Gal. iv. 1-7. G.
St Luke ii. 33-40).

28 Gottlob ! nun geht das Jahr zu Ende^

122 Das neugebor'ne Kindelein^' *.

152 Tritt auf die Glaubensbahn".



Online LibraryCharles Sanford TerryBach's chorals (Volume v.2) → online text (page 1 of 27)