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Wikipedia

Orgelbüchlein

February 12, 2024

The Orgelbüchlein (Little Organ Book) BWV 599−644 is a set of 46 chorale preludes for organ — one of them is given in two versions — by Johann Sebastian Bach. All but three were written between 1708 and 1717 when Bach served as organist to the ducal court in Weimar; the remainder and a short two-bar fragment came no earlier than 1726, after the composer’s appointment as cantor at the Thomasschule in Leipzig.

The court chapel at the Schloss in Weimar where Bach was court organist. The organ loft is visible at the top of the picture.

Bach's apparent plan was for a collection of 164 settings of chorale tunes sung during the Church year so that each part of the year was represented. However, only 46 of these were completed. The manuscript, which is now in the Staatsbibliothek, leaves a number of tunes as missing or "ghost" pieces. These have been added in the 21st century;[1] this project took nine hours in the first complete performance, giving an idea of the potential scope of Bach's "little" book. The Orgelbüchlein as Bach left it contains about 80 minutes of music which span the liturgical calendar.

Each setting takes a Lutheran chorale, adds a motivic accompaniment, and quite freely explores form. Many of the preludes are short and use four contrapuntal voices. All have a pedal part, some requiring only a single keyboard and pedal, with an unadorned cantus firmus. Others involve two keyboards and pedal. These include several canons, four ornamental four-part preludes with elaborately decorated chorale lines, and one prelude in trio sonata form.

A further step towards perfecting this form was taken by Bach when he made the contrapuntal elements in his music a means of reflecting certain emotional aspects of the words. Pachelbel had not attempted this; he lacked the fervid feeling which would have enabled him thus to enter into his subject. And it is entering into it, and not a mere depicting of it. For, once more be it said, in every vital movement of the world external to us we behold the image of a movement within us; and every such image must react upon us to produce the corresponding emotion in that inner world of feeling.

— Philipp Spitta, 1873, writing about the Orgelbüchlein in Volume I of his biography of Bach

Here Bach has realised the ideal of the chorale prelude. The method is the most simple imaginable and at the same time the most perfect. Nowhere is the Dürer-like character of his musical style so evident as in these small chorale preludes. Simply by the precision and the characteristic quality of each line of the contrapuntal motive he expresses all that has to be said, and so makes clear the relation of the music to the text whose title it bears.

— Albert Schweitzer, Jean-Sebastien Bach, le musicien-poête, 1905

Title page edit

 
Title page of the Orgelbüchlein.

Orgel-Büchlein
Worrine einem anfahenden Organisten
Anleitung gegeben wird, auff allerhand
Arth einen Choral durchzuführen, an-
bey auch sich im Pedal studio zu habi-
litiren, indem in solchen darinne
befindlichen Choralen das Pedal
gantz obligat tractiret wird.
Dem Höchsten Gott allein' zu Ehren,
Dem Nechsten, draus sich zu belehren.
Autore
Joanne Sebast. Bach
p. t. Capellae Magistri
S. P. R. Anhaltini-
Cotheniensis.

Little Organ Book
In which a beginning organist
receives given instruction as to performing
a chorale in a multitude of ways while
achieving mastery in the study of the pedal,
since in the chorales contained herein
the pedal is treated entirely obbligato.

In honour of our Lord alone
That my fellow man his skill may hone.
Composed by
Johann Sebastian Bach
Capellmeister
to his Serene Highness the Prince of Anhalt-
Cöthen[2]

History edit

 
Baroque organ in the Johanniskirche in Lüneburg, where Bach's teacher Georg Böhm was organist
 
Organ in St Blasius Church in Mülhausen, reconstructed in 1959 to Bach's 1708–09 specifications, with a third keyboard and 26 bell glockenspiel.[4]

Bach's formal training as a musician started when he was enrolled as a chorister at the Michaelskirche in Lüneburg in 1700–1702. Manuscripts in Bach's hand recently discovered in Weimar by the Bach scholars Peter Wollny and Michael Maul show that while in Lüneburg he studied the organ with Georg Böhm, composer and organist at the Johanniskirche. The documents are hand copies made in Böhm's home in tablature format of organ compositions by Reincken, Buxtehude and others. They indicate that already at the age of 15 Bach was an accomplished organist, playing some of the most demanding repertoire of the period.[5] After a brief spell in Weimar as court musician in the chapel of Johann Ernst, Duke of Saxe-Weimar, Bach was appointed as organist at St. Boniface's Church (now called the Bachkirche) in Arnstadt in the summer of 1703, having inspected and reported on the organ there earlier in the year. In 1705–1706 he was granted leave from Arnstadt to study with the organist and composer Dieterich Buxtehude in Lübeck, a pilgrimage he famously made on foot. In 1707 Bach became organist at St. Blasius' Church in Mühlhausen, before his second appointment at the court in Weimar in 1708 as concertmaster and organist, where he remained until 1717.

During the period before his return to Weimar, Bach had composed a set of 31 chorale preludes: these were discovered independently by Christoph Wolff and Wilhelm Krunbach in the library of Yale University in the mid-1980s and first published as Das Arnstadter Orgelbuch. They form part of a larger collection of organ music compiled in the 1790s by the organist Johann Gottfried Neumeister (1756–1840) and are now referred to as the Neumeister Chorales BWV 1090–1120. These chorale preludes are all short, either in variation form or fughettas.[6] Only a few other organ works based on chorales can be dated with any certainty to this period. These include the chorale partitas BWV 766-768 and 770, all sets of variations on a given chorale.[7][8][incomplete short citation]

During his time as organist at Arnstadt, Bach was upbraided in 1706 by the Arnstadt Consistory "for having hitherto introduced sundry curious embellishments in the chorales and mingled many strange notes in them, with the result that the congregation has been confused." The type of chorale prelude to which this refers, often called the "Arnstadt type", were used to accompany the congregation with modulating improvisatory sections between the verses: examples that are presumed to be of this form include BWV 715, 722, 726, 729, 732 and 738. The earliest surviving autograph manuscript of a chorale prelude is BWV 739, Wie schön leuchtet der Morgenstern, based on an Epiphany hymn. It dates from 1705 and possibly was prepared for Bach's visit to Lübeck.[9]

  •  
    Autograph manuscript of BWV 739
  •  
    Cranach altarpiece in St Peter und Paul, where Bach played the organ
  •  
    View of Weimar, 1686: Wilhelmsburg in centre, St Peter and Paul behind, Rote Schloss over footbridge on left
  •  
    Wilhelmsburg, Weimar, c 1730, built in the 1650s and destroyed by fire in 1774

Purpose edit

The Orgelbüchlein is simultaneously a compositional treatise, a collection of liturgical organ music, an organ method, and a theological statement. These four identities are so closely intertwined that it is hard to know where one leaves off and another begins.

— Stinson (1999, p. 25)

Compositional style edit

Although there are a few important departures, the chorale preludes of the Orgelbüchlein were composed with a number of common stylistic features, which characterise and distinguish the so-called "Orgelbüchlein style:"[10]

  • They are harmonisations of a cantus firmus which is taken by the soprano voice.
  • They are in four parts, with three accompanying voices.
  • The harmonies are filled out in the accompanying voices by motifs or figures derived from the cantus and written imitatively.
  • They begin directly with the cantus, either with or without accompaniment.
  • There are no breaks between the lines of the cantus for ritornellos or interludes in the accompanying voices.
  • The notes ending verse lines in the cantus are marked by fermata (pauses).

Exceptions include:

  • BWV 611, Christum wir sollen loben schon, where the cantus is in the alto voice
  • BWV 600, 608, 618, 619, 620, 624, 629 and 633/634 where the soprano cantus is in canon with another voice.
  • BWV 615, In dir ist Freude, where the cantus is heard in canon in all the voices over the accompanying motifs.
  • BWV 599, Nun komm, der Heiden Heiland, and BWV 619, Christe du Lamm Gottes, which are written for five voices.
  • BWV 639, Ich ruf' zu dir, Herr Jesu Christ, which is written for three voices.
  • BWV 617, 618, 619 and 637, where the accompaniment starts before the cantus.

Chorale Preludes BWV 599–644 edit

The brief descriptions of the chorale preludes are based on the detailed analysis in Williams (2003) and Stinson (1999). The metrical English translations of the texts of the Lutheran chorales are mostly taken from Terry (1921); more literal translations can be found in Williams (2003) and have been provided in the text below when appropriate.

Advent BWV 599–602 edit

  • BWV 599 Nun komm, der Heiden Heiland [Come now Saviour of heathens]
 
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The melody and words of "Nun komm, der Heiden Heiland" from the Erfurt Enchiridion, 1524

Below is the first verse of Luther's advent hymn "Nun komm, der Heiden Heiland" with the translation in English of George MacDonald.

Although it has often been suggested that this opening advent chorale prelude resembles a French overture, in construction, with its texture of arpeggiated chords, it is more similar to the baroque keyboard preludes of German and French masters, such as Couperin. The accompanying motif in the lower three or sometimes four parts is derived from a suspirans in the melodic line, formed of a semiquaver (16th note) rest—a "breath"—followed by three semiquavers and a longer fourth note. Some commentators have seen this falling figure as representing a descent to earth, but it could equally well reflect a repetition of the words "Nun komm" in the text. The suspirans is made up of intervals of a rising second, a falling fourth following by yet another rising second. It is derived from the first line of the melody of the cantus firmus and often shared out freely between voices in the accompaniment. The mystery of the coming of the Saviour is reflected by the somewhat hidden cantus firmus, over harmonies constantly reinventing themselves. It is less predictable and regular than other settings of the same hymn by Bach or predecessors like Buxtehude, only the second and third lines having any regularity. The last line repeats the first but with the suspirans suppressed and the dotted rhythms of the bass replaced by a long pedal note, possibly reflecting the wonder described in the third and fourth lines of the first verse.

  • BWV 600 Gott, durch deine Güte [God, through your goodness] (or Gottes Sohn ist kommen [The Son of God is come])
 
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St John the Baptist with the Lamb of God, early 16C stained glass from Mariawald Abbey near Cologne

Below is the first of three verses of Johann Spannenberg's advent hymn with the translation in English of Charles Sanford Terry.

It is set to the same melody as Johann Roh's advent hymn Gottes Sohn ist kommen, the first verse of which is given here with the English translation of Catherine Winkworth.

This chorale prelude is a canon at the octave in the soprano and tenor voices, with the tenor entering one bar after the soprano. The stops for the canonic parts were explicitly marked by Bach in the autograph score, with the high tenor part in the pedal, written at the pitch Bach intended and also within the compass of the Weimar organ. Bach left no indication that the manualiter parts were to be played on two keyboards: indeed, as Stinson (1999) points out, the autograph score brackets all the keyboard parts together; in addition technically at certain points the keyboard parts have to be shared between the two hands. The accompaniment is a skillful and harmonious moto perpetuo in the alto and bass keyboard parts with flowing quavers (eighth notes) in the alto, derived from the first four quaver suspirans figure, played above a walking bass in detached crotchets (quarter notes). The hymn was originally written in duple time but, to facilitate the canonic counterpoint, Bach adopted triple time with a minim beat, at half the speed of the bass. The bass accompaniment at first is derived directly from the melody; during the pauses in the soprano part, a second motif recurs. The continuous accompaniment in quavers and crotchets is an example of the first of two types of joy motif described by Schweitzer (1911b), used to convey "direct and naive joy." In the words of Albert Riemenschneider, "the exuberance of the passage work indicates a joyous background."

  • BWV 601 Herr Christ, der einge Gottes-Sohn [Lord Christ, the only Son of God] (or Herr Gott, nun sei gepreiset [Lord God, now be praised])
 
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The Annunciation, early 16C German stained glass roundel

Below are the first and last verses of Elisabeth Cruciger's hymn for Epiphany Herr Christ, der einig Gotts Sohn with the English translation of Myles Coverdale.

The same melody was used in the postprandial grace Herr Gott, nun sei gepreiset, the first verse of which is given below with the English translation of Charles Sanford Terry.

According to the chronology of Stinson (1999), this chorale prelude was probably the first to be entered by Bach in the autograph manuscript. Already it shows with beguiling simplicity all the features typical of the Orgelbüchlein preludes. The cantus firmus is presented unadorned in the soprano line with the other three voices on the same keyboard and in the pedal. The accompaniment is derived from the suspirans pedal motif of three semiquavers (16th notes) followed by two quavers (eighth notes). For Schweitzer (1911b) this particular motif signified "beatific joy", representing either "intimate gladness or blissful adoration." Although the chorale prelude cannot be precisely matched to the words of either hymn, the mood expressed is in keeping both with joy for the coming of Christ and gratitude for the bountifulness of God. The motif, which is anticipated and echoed in the seamlessly interwoven inner parts, was already common in chorale preludes of the period. Easy to play with alternating feet, it figured in particular in the preludes of Buxtehude and Böhm as well as an earlier manualiter setting of the same hymn by Bach's cousin, Johann Gottfried Walther. Bach, however, goes beyond the previous models, creating a unique texture in the accompaniment which accelerates, particularly in the pedal, towards the cadences. Already in the opening bar, as Williams (2003) points out, the subtlety of Bach's compositional skills are apparent. The alto part anticipates the pedal motif and, with it and the later dotted figure, echos the melody in the soprano. This type of writing—in this case with hidden and understated imitation between the voices, almost in canon, conveying a mood of intimacy—was a new feature introduced by Bach in his Orgelbüchlein.

  • BWV 602 Lob sei dem allmächtigen Gott [Praise be to God Almighty]
 
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Adoration of the Trinity, Albrecht Dürer

Below are the first two verses of Michael Weisse's advent hymn with the English translation of John Gambold.

The cantus firmus for this chorale prelude originates in the Gregorian chant Conditor alme siderum. Although in the phrygian mode, Bach slightly modifies it, replacing some B♭s by B♮s in the melody, but still ends in the key of A. The accompaniment is composed of two motifs, both suspirans: one in the inner parts contains a joy motif; and the other, shared between all three lower parts, is formed of three semiquavers (16th notes) and a longer note or just four semiquavers. In the pedal part this prominent descending motif has been taken to symbolise the "coming down of divine Majesty." Some commentators have suggested that the motion of the inner parts in parallel thirds or sixths might represent the Father and Son in the hymn. Albert Riemenschneider described the lower voices as creating "an atmosphere of dignified praise."

Christmas BWV 603–612 edit

  • BWV 603 Puer natus in Bethlehem [A boy is born in Bethlehem]
 
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The Nativity, Wildungen altarpiece of Konrad von Soest

Below is the first verse of the traditional Latin carol Puer natus in Bethlehem with the English translation of Hamilton Montgomerie MacGill.

Puer natus est in Bethlehem,
unde gaudet Ierusalem!
Alleluia, alleluia!
A Child is born in Bethlehem;
Exult for joy, Jerusalem!
Allelijah, Allelujah!
 
Treble part of Puer natus in Bethlehem, Lossius 1553

The cantus firmus in the soprano voice of this chorale prelude is a slight variant of the treble part of a four-part setting of Puer natus by Lossius. The chorale prelude is in four parts for single manual and pedals. It is unusual in that in most published versions no repeats are marked. However, in the autograph score there are markings by Bach at the end of the score which might indicate that a repeat of the whole prelude was envisaged with first and second time versions for the last bar. Some recent editions have incorporated this suggestion. The two inner voices and pedal follow the usual Orgelbüchlein pattern, providing a harmonious accompaniment, with gently rocking quavers in the inner voices and a repeated motif in the pedal, rising first and then descending in crotchet steps. Various commentators have proposed interpretations of the accompanying motifs: the rocking motif to suggest the action of swaddling; and the pedal motif as symbolising either the "journey of the Magi" to Bethlehem (Schweitzer (1905)) or Christ's "descent to earth" (Chailley (1974)). On a purely musical level, a mood of increasing wonder is created as the accompaniment intensifies throughout the chorale with more imitative entries in the inner parts.[11][12]

  • BWV 604 Gelobet seist du, Jesu Christ [Praised be you, Jesus Christ] a 2 Clav. et Ped.
 
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The Nativity, Albrecht Altdorfer

Below is the first verse of Martin Luther's version "Gelobet seist du, Jesu Christ" (1524) of the traditional Christmas hymn Gratis nunc omnes reddamus, with the English translation of Myles Coverdale.

Gelobet seist du, Jesu Christ,
dass du Mensch geboren bist
von einer Jungfrau, das ist wahr;
des freuet sich der Engel Schar.
Kyrieleis!
Now blessed be Thou, Christ Jesu;
Thou art man borne, this is true:
The aungels made a mery noyse,
Yet have we more cause to rejoyse.
Kirieleyson.

Bach used the same hymn in other organ compositions as well as in the cantatas BWV 64, 91 and 248, parts I and III (the Christmas Oratorio). The chorale prelude is scored for two manuals and pedal, with the cantus firmus in the soprano voice on the upper manual. On the lower manual the two inner voices provide the harmonic accompaniment, moving stepwise in alternating semiquavers. The pedal part responds throughout with a constantly varying motif involving octave semiquaver leaps. The chorale prelude is in the mixolydian mode. Combined with the unadorned but singing melody and its gentle accompaniment, this produces a mood of tenderness and rapture.

  • BWV 605 Der Tag, der ist so freudenreich [The day is so full of joy] a 2 Clav. et Ped.
 
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The Nativity, early 16C stained glass from Mariawald Abbey near Cologne

Below is the German version of the Christmas hymn Dies est latitiae with the English translation by Charles Sanford Terry.

Der Tag, der is so freudenreich
aller Kreature,
denn Gottes Sohn vom Himmelreich
über die Nature
von einer Jungfrau is geboren,
Maria, du bist auserkoren
das du Mutter wärest.
Was geschah so wunderlich?
Gottes Sohn vom Himmelreich,
der is Mensch geboren.
∘∘∘
Ein Kindelein so löbelich
ist uns geboren heute
von einer Jungfrau säuberlich
zu Trost uns armen Leuten.
Wär uns das Kindein nicht geboren,
so wären wir allzumal verloren;
das Heil is unser aller.
Ei du süsser Jesu Christ,
dass du Mensch geboren bist,
behüttet uns vor der Holle!
O hail this brightest day of days,
All good Christian people!
For Christ hath come upon our ways,
Ring it from the steeple!
Of maiden pure is He the Son;
For ever shall thy praise be sung,
Christ's fair mother Mary!
Ever was there news so great?
God's own Son from heaven's high state
Is born the Son of Mary!
∘∘∘
This day the wondrous Child is born,
Lent to earth from heaven.
He comes to cheer a world forlorn,
Its heavy sin to leaven.
So, sing ye all the glorious birth
Which doth redeem our fallen earth,
And works our salvation.
Laud to Thee, Child Jesu Christ!
With mankind Thou'st kept the tryst
Thou Star of every nation.

The melody, medieval in origin, was published with the text in 1529. Apart from BWV 606, Bach composed a harmonisation of the hymn in BWV 294 and set it as a chorale prelude, BWV 719 in the Neumeister Collection. The chorale prelude BWV 605 is written for two manuals and pedal with the cantus firmus in the soprano part. The frequent F♮s are a hint of the mixolydian mode. The accompanying motif is shared between the two inner voices on the second manual which together provide a continuous stream of semiquavers with two hemidemiquavers on the second semiquaver of each group. The pedal provides a rhythmic pulse with a semiquaver walking bass with sustained notes at each cadence. Williams (2003) suggests that the relative simplicity of BWV 605 and the uniformity of the accompaniment could be signs that it was one of the earliest composed pieces in Orgelbüchlein. Dissonances in the pedal in bars 3 and 5, however, could also be signs of Bach's more mature style. Ernst Arfken and Siegfried Vogelsänger have interpreted some of the dissonant F♮s as references to elements of foreboding in the text (for example Ei du süsser Jesu Christ in the second verse). The accompanying figure in the inner voices has been interpreted as a joy motif by Schweitzer (1905); as an evocation of rocking by Keller (1948); and as symbolising the miracle of virgin birth by Arfken. Many commentators have agreed with Spitta (1899) that the lively and rhythmic accompaniment conveys "Christmas joy".[13][14]

  • BWV 606 Vom Himmel hoch, da komm ich her [From Heaven on high I come here]
 
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Three angels, early 16C stained glass from Germany

Below are the first, second and last verses of the Christmas hymn Vom Himmel hoch, da komm ich her by Martin Luther with the English translation of Catherine Winkworth.

Vom Himmel hoch, da komm ich her.
ich bring' euch gute neue Mär,
der guten Mär bring ich so viel,
davon ich singn und sagen will.
∘∘∘
Euch ist ein Kindlein heut' geborn
Von einer Jungfrau auserkorn,
Ein Kindelein, so zart und fein,
Das soll eu'r Freud und Wonne sein.
∘∘∘
Lob, Ehr sei Gott im höchsten Thron,
Der uns schenkt seinen ein'gen Sohn.
Des freuen sich der Engel Schar
Und singen uns solch neues Jahr.
From Heaven above to earth I come
To bear good news to every home;
Glad tidings of great joy I bring
Whereof I now will say and sing:
∘∘∘
To you this night is born a child
Of Mary, chosen mother mild;
This little child, of lowly birth,
Shall be the joy of all your earth.
∘∘∘
Glory to God in highest Heaven,
Who unto man His Son hath given!
While angels sing with pious mirth
A glad New Year to all the earth.
 
Cantus firmus, "Vom Himmel hoch da komm' ich her", Lutheran hymnbook, 1539.

The melody of Vom Himmel hoch was published in 1539. The hymn was performed throughout the Christmas period, particularly during nativity plays. Many composers set it to music for both chorus and organ: closest to Bach's time, Pachelbel and Johann Walther[15] wrote chorale preludes. Bach's use of the hymn in his choral works includes the Magnificat, BWV 243 and 3 settings in the Christmas Oratorio, BWV 248. Apart from BWV 606, his organ settings include the early chorale preludes BWV 701 and 702 from the Kirnberger Collection and BWV 738 from the Neumeister Collection; the five Canonic Variations, BWV 769 were composed towards the end of his life.

The chorale prelude BWV 606 is written for single manual and pedal with the cantus firmus in the soprano part. As in all his other organ settings, Bach changed the rhythmic structure of the melody by drawing out the initial upbeats to long notes. This contrasts with Bach's choral settings and the chorale preludes of Pachelbel and Walther, which follow the natural rhythm of the hymn. In BWV 606, the rhythm is further obscured by the cadences of the second and final lines falling on the third beat of the bar. The accompaniment on the keyboard is built from semiquaver motifs, made up of four-note groups of suspirans semiquavers (starting with a rest or "breath"). These include turning figures and ascending or descending scales all presented in the first bar. The semiquaver figures, sometimes in parallel thirds or sixths, run continuously throughout the upper parts, including the soprano part, further obscuring the melody. Below the upper voices, there is a striding pedal part in quavers with alternate footing. In the two closing bars, there is a fleeting appearance of figures usually associated with crucifixion chorales, such as Da Jesu an dem Kreuzer stund, BWV 621: semiquaver cross motifs[16] in the upper parts above delayed or dragging entries in the pedal.

The predominant mood of the chorale prelude is one of joyous exultation. The semiquaver motifs, in constant motion upwards and downwards, create what Schweitzer (1905) called "a charming maze," symbolising angels heralding the birth of Christ. As Anton Heiller and others have observed, the brief musical allusions to the crucifixion in the closing bars bring together themes from Christmas and Easter, a momentary reminder that Christ came into the world to suffer; in the words of Clark & Peterson (1984), "Christ's Incarnation and Passion are inseparable, and Bach tried to express this through musical means."[17][18][19][20]

  • BWV 607 Vom Himmel kam der Engel Schar [From Heaven came the host of angels]
 
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Annunciation to the shepherds, 15C book of hours, Mainz

Below are the first and fourth verses of Martin Luther's Christmas hymn Vom Himmel kam der Engel Schar with the English translation of Catherine Winkworth.

Vom Himmel kam der Engel Schar,
erschien den Hirten offenbar;
sie sagten ihn'n: ein Kindlein zart,
das liegt dort in der Krippe hart
∘∘∘
Was kann euch tun die Sünd' und Tod?
Ihr habt mit euch den wahren Gott.
laßt zuernen Teufel und die Höll'
Gott's Sohn ist worden eu'r Gesell.
From heaven the angel-troop come near,
And to the shepherds plain appear:
A tender little child, they cry,
In a rough manger lies hard by.
∘∘∘
What can death do to you, or sin?
The true God is to you come in.
Let hell and Satan raging go —
The Son of God's your comrade now.
 
Tenor part of Puer natus in Bethlehem, Lossius 1553

The cantus firmus of this chorale prelude is in the soprano voice and is drawn from the tenor part of the four-part setting of Puer natus by Lossius. It is the only time that Bach used this hymn tune. Although there is some ambiguity in the autograph manuscript, the crossing of parts suggests that the intended scoring is for single manual and pedals. The motifs in the intricately crafted accompaniment are descending and ascending scales, sometimes in contrary motion, with rapid semiquaver scales shared between the inner voices and slower crotchet scales in the walking bass of the pedal part following each phrase of the melody. The mood of the chorale prelude is "ethereal" and "scintillating", veering elusively between the contemplative harmonised melody and the transitory rushing scales: towards the close the scales in the inner voices envelope the melody. The semiquaver motifs have been taken to represent flights of angels in the firmament: for Spitta (1899), "Bach's music rushes down and up again like the descending and ascending messengers of heaven."[21][22]

  • BWV 608 In dulci jubilo [In sweet joy]
 
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Adoration of the Shepherds, Hugo van der Goes

Below is the traditional fourteenth century German/Latin Christmas carol In dulci jubilo with the English/Latin translation of Robert Lucas de Pearsall.

In dulci jubilo,
nun singet und seid froh!
Unsers Herzens Wonne
leit in praesepio,
und leuchtet als die Sonne
matris in gremio,
Alpha es et O!
∘∘∘
O Jesu parvule
nach dir ist mir so weh!
Tröst mir mein Gemüte
O puer optime
durch alle deine Güte
O princeps gloriae.
Trahe me post te!
∘∘∘
O patris caritas,
o nati lenitas!
Wir wären all verloren
per nostra crimina,
so hat er uns erworben
coelorum gaudia.
Eia wären wir da!
∘∘∘
Ubi sunt gaudia
nirgend mehr denn da!
da die Engel singen
nova cantica,
und die Schellen klingen
in regis curia.
Eia, wären wir da!
In dulci jubilo
Let us our homage shew:
Our heart's joy reclineth
In praesepio;
And like a bright star shineth
Matris in gremio,
Alpha es et O!
∘∘∘
O Jesu parvule,
My heart is sore for Thee!
Hear me, I beseech Thee,
O puer optime;
My praying let it reach Thee,
O princeps gloriae.
Trahe me post te.
∘∘∘
O patris caritas!
O Nati lenitas!
Deeply were we stained.
Per nostra crimina:
But Thou for us hast gained
Coelorum gaudia,
O that we were there!
∘∘∘
Ubi sunt gaudia,
If that they be not there?
There are Angels singing
Nova cantica;
And there the bells are ringing
In Regis curia.
O that we were there!
 
 
The two pages of "In dulci jubilo" in the autograph manuscript

This chorale prelude is based on a traditional Christmas carol in canon that predates Luther. Prior to Bach, there had been settings of the carol as a canon by Fridolin Sicher and Johann Walther for organ and by Michael Praetorius for choir. Bach's chorale prelude is written for single manual and pedals, with the leading voice in the soprano. The canon—normally in the tenor part in the carol—is taken up one bar later in the pedal. As was Bach's custom, it was notated in the autograph manuscript at the pitch at which it should sound, although this fell outside the range of baroque pedalboards. The desired effect was achieved by using a 4′ pedal stop, playing the pedals an octave lower. The two accompanying inner voices, based on a descending triplet motif, are also in canon at the octave: such a double canon is unique amongst Bach's organ chorales. Following baroque convention, Bach notated the triplets in the accompaniment as quavers instead of crotchets, to make the score more readable for the organist. The accompaniment also has repeated crotchets on the single note of A, which, combined with the A's in the main canon, simulate the drone of a musette sounding constantly through the chorale until the A♯ in bar 25. At that point the strict canon in the accompaniment stops, but the imitative triplet motif continues until the close, also passing effortlessly into the soprano part. Over the final pedal point, it sounds in all three of the upper voices. There is some ambiguity as to whether Bach intended the crotchets in the accompanying motif to be played as a dotted rhythm in time with the triplets or as two beats against three. The deliberate difference in spacing in the autograph score and the intended drone-like effect might suggest adopting the second solution throughout, although modern editions often contain a combination of the two.

The piping triplets above the musette drone create a gentle pastoral mood, in keeping with the subject of the carol. For Williams (2003) the constant sounding of A major chords, gently embellished by the accompaniment, suggest unequivocally the festive spirit of the dulci and jubilo in the title; Schweitzer (1905) already described the accompanying triplets as representing a "direct and naive joy." Williams further suggests that the F♯ major chord at bar 25 might be a reference to leuchtet als die Sonne ("shines like the sun") in the first verse; and the long pedal point at the close to Alpha es et Omega ("You are the Alpha and the Omega") at the end of the first verse. The mood also reflects the first two lines of the third verse, "O love of the father, O gentleness of the newborn!" Bach often used canons in his chorale preludes to signify the relation between "leader" and "follower" as in his settings of Dies sind die heil'gen zehn Gebot ("These are the Ten Commandments"); Stinson (1999) considers that this was unlikely to be the case here, despite the words Trahe me post te ("Draw me to thee") in the second verse.[23][24]

  • BWV 609 Lobt Gott, ihr Christen, allzugleich [Praise God, you Christians all together]
 
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Adoration of the Magi, Wildungen altarpiece of Konrad von Soest

Below are the first and last verses of Nikolaus Herman's Christmas hymn with the English translation by Arthur Tozer Russell.

Lobt Gott, ihr Christen, allzugleich,
in seinem höchsten Thron,
der heut schließt auf sein Himmelreich
und schenkt uns seinen Sohn.
∘∘∘
Das aus seinem Stamm entsprießen sollt
in dieser letzten Zeit,
durch welchen Gott aufrichten wollt
sein Reich, die Christenheit.
Let all together praise our God
Upon His lofty throne;
He hath His heavens unclosed to-day,
And given to us His Son.
∘∘∘
The glorious gates of Paradise
The cherub guards no more;
This day again those gates unfolds!
With praise our God adore!

The melody first appeared with this text in a 1580 hymnbook. Prior to Bach, there were choral settings by Michael Praetorius and Samuel Scheidt and a setting for organ in the choral prelude BuxWV 202 by Dieterich Buxtehude. Apart from BWV 609, Bach set the hymn in the cantatas BWV 151 and 195, the two harmonisations BWV 375 and 376 and the chorale prelude BWV 732. The chorale prelude BWV 609 is scored for single manual and pedal with the cantus firmus unembellished in the soprano voice. The accompaniment in the inner voices is a uniform stream of semiquavers shared between the parts, often in parallel sixths but occasionally in contrary motion. It is built up from several four-note semiquaver motifs first heard in the opening bars. Beneath them in the pedal is a contrasting walking bass in quavers with sustained notes at the end of each phrase. Unlike the inner voices, the pedal part has a wide range: there are two scale-like passages where it rises dramatically through two octaves, covering all the notes from the lowest D to the highest D. The four voices together convey a mood of joyous exultation. Stinson (1999) speculates that the passages ascending through all the notes of the pedalboard might symbolise the word allzugleich ("all together"); and Clark & Peterson (1984) suggest that the widening intervals at the start between the cantus and the descending pedal part might symbolise the opening up of the heavens (schließt auf sein Himmelreich).[25][26]

  • BWV 610 Jesu, meine Freude [Jesus, my joy]
 
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Adoration of the Christ Child, early 16C Germany stained glass panel

Below are the first two verses of Johann Frank's hymn Jesu, meine Freude with the English translation by Catherine Winkworth.

Jesu, meine Freude,
meines Herzens Weide,
Jesu, meine Zier,
ach, wie lang, ach lange
ist dem Herzen bange
und verlangt nach dir!
Gotteslamm, mein Bräutigam,
außer dir soll mir auf Erden
nichts sonst Liebers werden!
∘∘∘
Unter deinem Schirmen
bin ich vor den Stürmen
aller Feinde frei.
Laß den Satan wittern,
laß die Welt erschüttern,
mir steht Jesus bei.
Ob es jetzt gleich kracht und blitzt,
obgleich Sünd' und Hölle schrecken,
Jesus will mich decken.
Jesu, priceless treasure,
Source of purest pleasure,
Truest Friend to me;
Ah! how long I've panted,
And my heart hath fainted,
Thirsting, Lord, for Thee!
Thine I am, O spotless Lamb,
I will suffer nought to hide Thee,
Nought I ask beside Thee.
∘∘∘
In Thine arm I rest me,
Foes who would molest me
Cannot reach me here;
Though the earth be shaking,
Every heart be quaking,
Jesus calms my fear;
Sin and hell in conflict fell
With their bitter storms assail me;
Jesus will not fail me.

The melody was first published with the text in Johann Crüger's hymnal Praxis pietatis melica of 1653. In later hymnbooks the hymn became associated with Christmas and Epiphany; it was also frequently included amongst the so-called Jesuslieder, devotional hymns addressed to Jesus, often for private use. One of the earliest settings of the hymn was Dieterich Buxtehude's cantata BuxWV 60 for four voices, strings and continuo, composed in the 1680s. Bach's friend and colleague Johann Walther composed an organ partita on the hymn in 1712. Apart from BWV 610, Bach's organ settings include the chorale preludes BWV 713 in the Kirnberger Collection, BWV 1105 in the Neumeister Collection and BWV 753 composed in 1720. Amongst his choral settings are the harmonisation BWV 358, the motet BWV 227 for unaccompanied choir and cantatas BWV 12, 64, 81 and 87.

The chorale prelude BWV 610 is scored for single manual and pedal, with the cantus firmus unadorned in the soprano voice. Marked Largo, the cantus and accompanying voices in the two inner parts and pedal are written at an unusually low pitch, creating a sombre effect. The accompaniment is based on semiquaver motifs first heard in their entirety in the pedal in bar one; the inner parts often move in parallel thirds followed by quasi-ostinato responses in the pedal. The rich and complex harmonic structure is partly created by dissonances arising from suspensions and occasional chromaticisms in the densely scored accompanying voices: the motifs are skillfully developed but with restraint.

Both Williams (2003) and Stinson (1999) concur with the assessment of Spitta (1899) that "fervent longing (sehnsuchtsvoll Innigkeit) is marked in every line of the exquisite labyrinth of music in which the master has involved one of his favourite melodies." As Honders (1988) has pointed out, when composing this chorale prelude Bach might have had in mind one of the alternative more intimate texts for the melody such as Jesu, meine Freude, wird gebohren heute, available in contemporary Weimar hymnbooks and reprinted later in Schemellis Gesangbuch of 1736.[27][28]

  • BWV 611 Christum wir sollen loben schon [We should indeed praise Christ] Choral in Alto
 
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Below is the first verse of Martin Luther's hymn Christum wir sollen loben schon with the English translation of Richard Massie (1854). Luther's text was his version of the Latin hymn A solis ortus cardine, part of the fifth century abecedarius of Coelius Sedulius; it has been inserted between the two. Another extract from Sedulius' poem became the Latin Hymn Hostis herodes impie. The first verse is given below with Luther's German version Was fürchtst du, Feind Herodes, sehr to the same melody. Both verses concern Christ's coming on earth.

Christum wir sollen loben schon,
der reinen Magd Marien Sohn,
soweit die liebe Sonne leucht't
und an aller Welt Ende reicht.
∘∘∘
Was fürchtst du, Feind Herodes, sehr,
dass uns geborn kommt Christ der Herr?
Er sucht kein sterblich Königreich,
der zu uns bringt sein Himmelreich.
A solis ortus cardine
ad usque terræ limitem
Christum canamus principem,
natum Maria virgine.
∘∘∘
Hostis herodes impie,
Christum venire quid times?
non eripit mortalia,
qui regna dat caelestia.
Now praise we, Christ, the Holy One,
The spotless Virgin Mary's Son,
Far as the blessed sun doth shine,
E'en to the world's remote confine.
∘∘∘
Herod, why dreadest thou a foe,
Because the Christ comes born below?
He seeks no mortal kingdom thus,
Who brings His kingdom down to us.
 
Marienalter, Albrecht Dürer
 
Plainchant melody for A solis ortus cardine, an abecedarius in a late 15th-century antiphonary, Convent of St. Catherine, St. Gallen

The melody of the cantus firmus in the Dorian mode is based on the Latin hymn A solis ortus cardine, which appeared in its Lutheran version in 1524. It was used in settings by Scheidt, Scheidemann, Walther and de Grigny, the latter two employing the Latin title. Apart from BWV 611, Bach set the hymn earlier in BWV 696, a chorale prelude from the Kirnberger Collection, and later in his cantata Christum wir sollen loben schon, BWV 121.

BWV 611, marked Adagio, has several unusual and novel features. In contrast to the densely scored chorale prelude BWV 610, the four parts—augmented to five by the double pedal in the last two bars—are widely spaced employing the full range of the baroque organ. Apart from chorale preludes that are canons, this is the unique Orgelbüchlein prelude where the cantus firmus is in the "middle" alto voice. Scored for single manual and pedal, the accompanying voices are the soprano (right hand), the tenor (left hand) and the bass (pedal). The cantus firmus alto part is in a dotted rhythm shared between the two hands, as if hidden. The accompanying motif derives from a suspirans figure, a four note descending or ascending semiquaver scale starting off the beat; this flowing motif is possibly derived from the hymn melody, moving as it does in steps, albeit much slower. The motif is first heard high up in the soprano voice which is placed in bare relief by the sustained notes and slow-moving melody in the lower parts. In particular the pedal point in the first note of the bass heightens the dramatic effect of the opening by briefly abandoning the usual motivic Orgelbüchlein pattern. After the opening, the four note motif is extended throughout in the bass part to five notes by preceding it by a dotted quaver: the slow tempo facilitates semiquaver scales in the pedal. In the sixth bar the soprano and the bass play the highest and lowest notes in the Weimar organ's register, the two C's above and below middle C. The Bach scholar Hermann Keller has described the resulting musical texture as the most ethereal in the Orgelbüchlein. The "hidden" alto hymn tune, occasionally tinged with chromaticism, imparts a further sense of mystery. Above and below it the scale figures in the three accompanying parts are heard meandering in parallel and sometimes contrary motion. In the eleventh bar the bass's motivic accompaniment pauses for a second pedal point after which it resumes by unexpectedly taking up the cantus firmus in canon—two beats after and two octaves below the alto—until the end of the twelfth bar. At the same time in the eleventh bar the soprano and tenor parts play semiquaver motives in canon separated by a quaver and two octaves, before playing in more transparent imitation in bars 12 and 13. After the cadence at bar 14 from D minor to A minor, the accompaniment is augmented to four voices with a second voice in the pedal, first with motivic semiquaver figures in all the parts in the penultimate bar; and then imitative dactylic joy motifs in the soprano and tenor parts during the closing bar.

There is a precursor of the musical style of BWV 611—the plainchant melody A solis ortus cardine/Hostis herodes impie accompanied by polyphonic scale motifs—in the 1667 Deuxième Livre d’Orgue of Nivers.

Commentators have suggested how the musical form echos the themes of the hymn—the cantus firmus reflecting the mystery of the incarnation, Christ hidden in Mary's womb, and its chromaticism the purity of the virgin. The widely spaced polyphonic texture has been taken as a musical depiction of Sedulius' poetic lines A solis ortus cardine, ad usque terræ limitem—"From the hinge of the rising sun, To the farthest edge of the earth". For Schweitzer (1911a) the opening motivic accompaniment "entwines the chorale melody in a consummately effective way and embraces a whole world of unutterable joy", the adagio is a "mystical contemplation", and the motifs "a joyous exaltation in the soprano".

  • BWV 612 Wir Christenleut [We Christians]
 
BWV 612
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Adoration of the Magi, early 16C stained glass from Steinfeld Abbey

Below are the first and third verses of the hymn of Caspar Fuger with the English translation of Catherine Winkworth first published in 1592 with the melody, which predates it.

Wir Christenleut
haben jetzund Freud,
weil uns zu Trost Christus ist Mensch geboren,
hat uns erlöst.
Wer sich des tröst',
und glaubet fest, soll nicht werden verloren.
∘∘∘
Die Sünd macht Leid;
Christus bringt Freud,
weil er zu uns in diese Welt ist kommen.
Mit uns ist Gott
in dieser Not:
Wer ist, der jetzt uns Christen kann verdammen?
We Christians may
Rejoice to-day,
When Christ was born to comfort and to save us;
Who thus believes
No longer grieves,
For none are lost who grasp the hope He gave us.
∘∘∘
Sin brought us grief.
But Christ relief,
When down to earth He came for our salvation;
Since God with us
Is dwelling thus.
Who dares to speak the Christian's condemnation?
 
Wir Christenleut in the second edition of the Lutheran Hymnbook of Johann Hermann Schein, 1645
 
Autograph manuscript of BWV 612, with final bars entered at bottom of the page in organ tablature (also added on 2 clefs by unknown scribe at end of MS).

The hymn was previously set as the chorale prelude BWV 710 in the Kirnberger Collection; and it also appears as BWV 1090 in the Neumeister Collection. The autograph manuscript of Orgelbüchlein contains the original composing score for BWV 612. As with the most of the collection, Bach had allotted one page for the chorale prelude. Due to lack of space, he entered the final two and a half bars in more compact tablature notation. The dots indicating the second half could be repeated—an unusual feature in Orgelbüchlein—first appeared in print in the 1983 Neue Bach-Gesellschaft edition of Heinz-Harald Löhlein.

BWV 612 is written for single manual and pedal with four voices. The plain cantus firmus is in the soprano part. The accompaniment—striding quavers in the pedal like an ostinato bass and dance-like semiquavers in the inner parts—s formed from two short motifs. Both motifs are related as can be seen when they are first heard together in the alto and bass parts in the last two beats of bar 1 and first beats of bar 2: separated by an octave plus a third, the bass motif (a rest followed by six notes) can be seen as a simplified form of the alto motif (a rest followed by two five-note figures). At the same time the motif in the inner parts is derived from descending scale D, C, B-flat, A that recurs in the cantus. Both accompanying motifs serve to propel the chorale prelude forwards, the bass line having a similar function to that in the last movement of the fourth Brandenburg concerto. Although the cantus itself repeats more of its lines than most Lutheran hymns, Bach avoids repetitiveness in the chorale prelude by varying the harmonies and rhythmic texture in the accompaniment for each phrase. In addition what sounds like an interlude for alto and tenor during a two and a half bar rest in the pedal part creates further variety.

The resolute striding bass has been seen by Schweitzer (1911b) as representing firmness in faith, a reference to the last two lines of the first verse Wer sich des tröst', und glaubet fest, soll nicht werden verloren: "whosoever trusts in Him and firmly believes shall not be lost." The same type of bass line was used much later by Bach in the chorale prelude Wir glauben all an einen Gott”, BWV 664 in Clavier-Übung III.[29]

New Year BWV 613–615 edit

  • BWV 613 Helft mir Gotts Güte preisen [Help me to praise God's goodness]
 
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Hymn in adoration of the lamb from Dürer's Apocalypse

Below is the first verse of this New Year's hymn of Paul Eber with the English translation by John Christian Jacobi.

Helft mir Gott's Güte preisen,
ihr lieben Kinderlein,
mit G'sang und andrer Weisen
ihm allzeit dankbar sein,
vornehmlich zu der Zeit,
da sich das Jahr tut enden,
die Sonn' sich zu uns wenden,
das Neujahr ist nicht weit.
Come, let us All, with Fervour,
On whom Heaven's Mercies shine,
To our Supreme Preserver
In tuneful Praises join.
Another Year is gone;
Of which the tender Mercies
(Each pious Heart rehearses)
Demand a grateful Song.
  • BWV 614 Das alte Jahr vergangen ist [The old year has passed] a 2 Clav. et Ped.
 
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Albrecht Dürer, St Jerome

Below are the six verses of this New Year's hymn with the English translation of Catherine Winkworth.

Das alte Jahr vergangen ist,
wir danken dir, Herr Jesu Christ,
daß du uns hast in aller G'fahr
so gnädiglich behüt't dies Jahr.
 
Wir bitten dich, ewigen Sohn
Des Vaters in dem höchsten Thron,
Du woll'st dein' arme Christenheit
Ferner bewahren allezeit.
 
Entzeuch uns nicht dein heilsam Wort,
welch's ist der Seelen Trost und Hort,
vor's Papsts Lehr' und Abgötterei
bewahr uns, Herr, und steh uns bei!
 
Hilf, daß wir von der Sand' ablan
Und fromm zu werden fahen an.
Kein'r Sünd' im alten Jahr gedenk,
Ein gnadenreich neu Jahr uns schenk.
 
Christlich zu leben, seliglich
Zu sterben und hernach fröhlich
Am Jüngsten Tag wied'r aufzustehn,
Mit dir in Himmel einzugehn,
 
Zu danken und zu loben dich
Mit allen Engeln ewiglich.
O Jesu, unsern Glauben mehr
Zu deines Namens Lob und Ehr'!
The old year now hath passed away,
We thank Thee, O our God, today
That Thou hast kept us through the year,
When danger and distress were near.
 
We pray Thee, O Eternal Son,
Who with the Father reign'st as One,
To guard and rule Thy Christendom
Through all the ages yet to come.
 
Take not Thy saving Word away.
Our souls' true comfort and their stay;
Abide with us, and keep us free
From errors, following only Thee.
 
O help us to forsake all sin,
A new and holier course begin,
Mark not what once was done amiss;
A happier, better year be this,
 
Wherein as Christians we may live,
Or die in peace that Thou canst give,
To rise again when Thou shalt come,
And enter Thine eternal home.
 
There shall we thank Thee, and adore,
With all the angels evermore;
Lord Jesus Christ, increase our faith
To praise Thy name through life and death.
 
Das alte Jahr vergangen ist in the Neu Leipziger Gesangbuch of Gottfried Vopelius, 1682. The hymn tune is on the first line of the first page and the first three lines of the second.
 
Autograph manuscript of Das alte Jahre vergangen ist, BWV 614

Customarily sung on New Year's Day, the hymn addresses thanks for the past year and prayers for the coming year to Christ. Although primarily a supplication looking forwards to the future, the hymn also looks back at the past, reflecting on the perils facing man, his sins and his transitory existence.

The version of the hymn that Bach used for BWV 614 only emerged gradually. The first two verses of the hymn text were first published in Clemens Stephani's Nuremberg hymnbook of 1568; the entire six verses of the text appeared in Johann Steuerlein's Erfurt hymnbook of 1588. An early version of the melody also appeared in Steuerlein's hymnbook, but set to different words (Gott Vater, der du deine Sonn). That melody first appeared with the text in Erhard Bodenschatz's Leipzig hymnbook of 1608. One of the earliest known sources for the version of the hymn used by Bach is Gottfried Vopelius's Leipzig hymnbook of 1682. Prior to modern scientific methods for dating Bach's autograph manuscripts, scholars had relied on identifying hymnbooks available to him to determine exactly when Orgelbüchlein was written. Terry (1921) erroneously assigned a date after 1715, because the earliest source for Das alte Jahr he had been able to locate was Christian Friedrich Witt's Gotha hymnbook, first published in 1715. As is now known, Bach set Das alte Jahr early in his career as BWV 1091, one of the chorale preludes in the Neumeister Collection; he also composed two four-part harmonisations, BWV 288 and 289.[30][31][32][33]

The chorale prelude BWV 614 is written for two manuals and pedal with the cantus firmus in the soprano voice. Despite starting starkly with two repeated crotchets—unaccompanied and unembellished—in the cantus, BWV 614 is an ornamental chorale prelude: the highly expressive melodic line, although restrained, includes elaborate ornamentation, coloratura melismas (reminiscent of Bach's Arnstadt chorale preludes) and "sighing" falling notes, which at the close completely subsume the melody as they rise and fall in the final cadence. The accompaniment is built from the motif of a rising chromatic fourth heard first in the response to the first two notes of the cantus. The motif is in turn linked to the melodic line, which later on in bar 5 is decorated with a rising chromatic fourth. Bach ingeniously develops the accompaniment using the motif in canon, inversion and semiquaver stretto. The three lower voices respond to each other and to the melodic line, with the soprano and alto voices sighing in parallel sixths at the close. The chromatic fourth was a common form of the baroque passus duriusculus, mentioned in the seventeenth century musical treatise of Christoph Bernhard, a student of Heinrich Schütz. The chromaticism creates ambiguities of key throughout the chorale prelude. The original hymn melody is in the aeolian mode of A (the natural form of A minor) modulating to E major in the final cadence. Renwick (2006) analyses the mysteries of the key structure in BWV 614. In addition to giving a detailed Schenkerian analysis, he notes that the cadences pass between D minor and A until the final cadence to E major; that the modal structure moves between the Dorian mode on D and the Phrygian mode on E through the intermediary of their common reciting note A; and that the key changes are mediated by the chromatic fourths in the accompaniment.[30][31][34][35]

Since the nineteenth century successive commentators have found the mood of the chorale prelude to be predominantly sad, despite that not being in keeping with the hymn text. The chromatic fourth has been interpreted as a "grief motif". It has been described as "melancholic" by Schweitzer (1905); as having "the greatest intensity" by Spitta (1899); as a "prayer" with "anxiety for the future" by Ernst Arfken; and as a crossroads between "the past and the future" by Jacques Chailley. Williams (2003) suggests that the grieving mood might possibly reflect tragic events in Bach's life at the time of composition; indeed in 1713 his first wife gave birth to twins who died within a month of being born. Renwick (2006) takes a different approach, suggesting that Bach's choice of tonal structure leads the listener to expect the E's that end the chorale prelude to be answered by A's, the notes that start it. To Renwick such "cyclicity" reflects the themes of the hymn: "a turning point; a Janus-like reflection backward and forward; regret for the past and hope for the future; the place between before and after."[30][31][34]

  • BWV 615 In dir ist Freude [In you is joy]
 
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St Christopher with the Christ Child, early 15C Book of Hours, Ghent

Below is the first verse of the hymn In dir ist Freude with the English translation by Catherine Winkworth.

In dir ist Freude
in allem Leide,
o du süßer Jesu Christ!
Durch dich wir haben
himmlische Gaben,
du der wahre Heiland bist;
hilfest von Schanden,
rettest von Banden.
Wer dir vertrauet,
hat wohl gebauet,
wird ewig bleiben. Halleluja.
Zu deiner Güte
steht unser G'müte,
an dir wir kleben
im Tod und Leben;
nichts kann uns scheiden. Halleluja.
In Thee is gladness
Amid all sadness,
Jesus, Sunshine of my heart!
By Thee are given
The gifts of heaven,
Thou the true Redeemer art!
Our souls Thou wakest,
Our bonds Thou breakest,
Who trusts Thee surely
Hath built securely,
He stands for ever: Hallelujah!
Our hearts are pining
To see Thy shining,
Dying or living
To Thee are cleaving,
Nought can us sever: Hallelujah!

The church musician Johann Lindemann published the text in 1598 and Giovanni Giacomo Gastoldi supplied the melody in 1591.[36]

Candlemas BWV 616–617 edit

  • BWV 616 Mit Fried' und Freud' ich fahr' dahin [With peace and joy I depart]
 
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Feast of the Purification, early 16C stained glass from Mariawald Abbey near Cologne

Below is the first verse of Martin Luther's version of the Nunc dimittis, Mit Fried und Freud ich fahr dahin, a text associated with the Epiphany-tide feast of the Presentation in the Temple, together with an English translation by Catherine Winkworth.

Mit Fried und Freud ich fahr dahin
in Gottes Willen;
getrost ist mir mein Herz und Sinn,
sanft und stille,
wie Gott mir verheißen hat:
er Tod ist mein Schlaf worden.
In peace and joy I now depart,
According to God's will,
For full of comfort is my heart,
So calm and sweet and still;
So doth God His promise keep,
And death to me is but a sleep.
  • BWV 617 Herr Gott, nun schleuß den Himmel auf [Lord God, now unlock Heaven]
 
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Hugo van der Goes, Death of the Virgin

Below are the first and last verses of Tobias Kiel's hymn which references the Song of Simeon, a biblical text associated with the Epiphany-tide feast of the Presentation in the Temple. The English translation is by Catherine Winkworth.

Herr Gott, nun schleuss den Himmel auf!
mein Zeit zu End sich neiget,
ich hab vollendet meinen Lauf,
des sich mein Seel freuet;
hab g'nug gelitten,
mich müd gestritten,
schick mich fein zu
zur ewig'n Ruh
laß fahren, was auf Erden
will lieber selig werden.
∘∘∘
Laß mich nur, Herr, wie Simeon
im Friede zu dir fahren.
Befiehl mich Christo, deinem Sohn
der wir mich wohl bewahren;
wird mich recht führen
im Himmel zieren
mit Ehr und Kron;
fahr drauf davon;
laß fahren, was auf Erden
will lieber selig werden.
Lord God, now open wide Thy heaven,
My parting hour is near;
My course is run, enough I've striven,
Enough I've suffered here;
Weary and sad
My heart is glad
That she may lay
her down to rest;
Now all on earth I can resign.
But only let Thy heaven be mine.
∘∘∘
Then let me go like Simeon
In peace with Thee to dwell.
For I commend me to Thy Son,
And He will guard me well,
And guide me straight
To the golden gate:
And in this hope
I calmly die;
Yes, all on earth I can resign.
If but Thy heaven may now be mine.

Lent BWV 618–624 edit

  • BWV 618 O Lamm Gottes, unschuldig [Oh innocent Lamb of God] Canon alla Quinta
 
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Lamb of God, 14C altar painting from Prague

Below is the first verse and refrain of the third verse of this version of the Agnus Dei, O Lamm Gottes, unschuldig, with the English translation of Catherine Winkworth.

O Lamm Gottes, unschuldig
am Stamm des Kreuzes geschlachtet,
allzeit funden geduldig,
wiewohl du warest verachtet;
all Sünd hast du getragen,
sonst müßten wir verzagen.
Erbarm dich unser, O Jesu.
∘∘∘
Gieb uns dein Frieden, o Jesu.
O Lamb of God, most stainless!
Who on the Cross didst languish,
Patient through all Thy sorrows.
Though mocked amid Thine anguish;
Our sins Thou bearest for us,
Else had despair reigned o'er us:
Have mercy upon us, O Jesu!
∘∘∘
Grant us Thy peace today, O Jesu!
  • BWV 619 Christe, du Lamm Gottes [Christ, Lamb of God] in Canone alla Duodecime, a 2 Clav. et Ped.
 
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St John the Baptist with the Lamb of God, late 15C German stained glass roundel

Below is the first verse and refrain of the third verse of Christe, du Lamm Gottes, a German version of the Agnus Dei, with the English translation of Charles Sanford Terry.

Christe, du Lamm Gottes,
der du trägst die Sünd' der Welt,
erbarm dich unser!
∘∘∘
gib uns dein'n Frieden!
Christ, Thou Lamb of God,
Thou that bear'st the sins of men,
Have mercy on us!
∘∘∘
Grant to us Thy peace!
  • BWV 620 Christus, der uns selig macht [Christ, who makes us blessed] in Canone all'Ottava
 
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Ecce Homo, mid 16th century stained glass panel from Germany

This setting of the Lutheran hymn Christus, der uns selig macht features the chorale in canon between the highest voice in the manuals and the pedal part. The original manuscript features passages in tablature notation, which has led to inaccurate readings in some published editions.[37]

Below is the text of the first and last verse of the Passiontide hymn with the English translation of John Christian Jacobi.

Christus, der uns selig macht,
kein Bös hat gegangen,
war für uns zur Mitternacht
als ein dieb gefangen,
geführt vor Gottlose Leut
und fälschlich verklaget,
verlacht, verhöhnt under verspeit,
wie den Schrift saget.
•••
O hilf, Christe, Gottes Sohn,
durch dein bitter Leiden,
daß wir dir stets untertan
Sünd und Unrecht meiden,
deinen Tod und sein Ursach
fruchtbar nun bedenken,
dafür, wiewohl arm und schwach,
dir Dankopfer schenken.
Christ, by Whose all-saving Light
Mankind benefited,
Was for Sinners in the Night
As a Thief committed.
Dragged before a wicked Court
Of the Jewish Clergy;
Where they tried their worst Effort
'Gainst the Lord of Mercy.
•••
Grant, O Jesu, blessed Lord,
By Thy Cross and Passion,
Thy blest Love may be adored
By the whole Creation:
Hating Sin, the woful Cause
Of Thy Death and Suffering,
Give our Heart to obey Thy Laws
As the best Thanks-offering.
  • BWV 621 Da Jesus an dem Kreuze stund [As Jesus hung upon the Cross]
 
BWV 621
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The Crucifixion, early 16C stained glass

Below is the text by Johann Böschenstein (1472–1540) of the first and last verses of this Passiontide hymn Da Jesus an dem Kreuze stund with the English translation from the Moravian Hymn Book (1746). Usually sung on Good Friday, the hymn has as its theme the Seven Last Words from the Cross, each of the seven intervening verses meditating on a different Word.

Da Jesus an dem Kreuze stund
und ihm sein Leib war ganz verwund't
mit bitterlichen Schmerzen,
die sieben Wort, die er da sprach,
betracht in deinem Herzen.
∘∘∘
Wer Gottes Mart'r in Ehren hat,
und oft gedenckt der sieben Wort,
des will Gott eben pflegen,
wohl hier auf Erd'n mit seinem Gnad,
und dort im ewigen Leben.
When Jesus on the Cross was found,
His Body pierced with many a Wound,
With Torture very bitter;
The dying Words, which He then spake,
With a still Heart consider.
∘∘∘
He who God's Pains in Honour has,
To whom our Saviour gives the Grace
To be in Heart possessing
And weigh these seven Gospel Words,
Enjoys a noble Blessing.
 
Hymn in the 1650 Görlitzer Tabulaturbuch of Samuel Scheidt with cantus in soprano clef

The hymn melody is in the phrygian mode and dates back to the Reformation. In the generation prior to Bach, organ settings had mainly been made by composers in Southern Germany like Kindermann, Pachelbel and Fischer.

Unlike most of the other chorale preludes in the Orgelbüchlein, Bach did not use the chorale in any of his cantatas—BWV 621 is his unique setting of the hymn. BWV 621 is scored for single manual and pedal, with the cantus firmus in the soprano voice almost entirely in plain crotchets. The accompaniment below the cantus creates an unusually dense texture. There are three accompanying voices, often closely scored: the alto and tenor voices in the keyboard between them weave a continuous and complex pattern of rising and falling semiquavers, sometimes in parallel thirds; and below them the bass voice in the pedal moves in steady quavers and syncopated crotchets.

The accompaniment in each lower voice is constructed from its own separate motifs, each having its own characteristic rhythm. Although the longer figures in the two lowest voices are heard several times throughout the piece, Bach's ingenious writing gives no sense of artifice or mechanical repetition. In addition, as Williams (2003) notes, the outer and inner voices are naturally paired: the pedal with—or in opposition to—the cantus; and the alto voice with the tenor. The pedal starts off with a cross motif in quavers, which recurs throughout the composition.[16] The cross motifs are followed by suspended crochets, falling in steps. These create constant dissonances with the cantus which are resolved only by the cadence at the close. The syncopated crotchets in the pedal also interrupt the fermatas at the end of each cantus line, giving a further sense of restlessness. The alto part is characterised by falling anapaests; while the tenor line is made up of two parts, the first a rising semiquaver figure and the second shorter semiquaver cross motifs descending in sequence. As the piece progresses the motifs become more concentrated, with the alto taking up some of the tenor motifs towards the close. These novel features mark a departure from the more standard settings of the hymn by Bach's predecessors such as Fischer which conform more closely to the stile antico.

Many commentators have interpreted the compositional form and motifs of BWV 621 in terms of the themes of the Passiontide hymn, primarily concerned with the crucifixion. Spitta (1899) wrote that Christ's hanging on the cross "is represented by the heavy, syncopated notes" and takes this as "evidence of a wonderfully true aesthetic feeling" [in Bach], since "that enforced quietude of direst anguish was no real calm." Similarly for Schweitzer (1911b), the pedal line symbolises "the drooping of the exhausted body of Jesus on the cross." Stinson (1999) describes the dissonant suspensions as fitting for "the tragic subject matter." For Williams (2003) the syncopated bass line is a "masterful" way of evoking the dragging of the cross. Similar motifs and handling of voices occur at the close of Von Himmel hoch, da komm ich her, BWV 606: although that Christmas hymn primarily concerns the incarnation of Christ, later parts of the text foreshadow the crucifixion.[38][39]

  • BWV 622 O Mensch, bewein dein Sünde groß [Oh Man, bewail your great sins] a 2 Clav. et Ped.
 
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Below is the text of the first stanza of the hymn O Mensch, bewein dein Sünde groß by Sebald Heyden with the English translation of Catherine Winkworth.

O Mensch, bewein dein Sünde gross,
darum Christus seins Vaters Schoss
verliess und kam auf Erden.
Von einer Jungfrau rein und zart
für uns er hier geboren war:
er wollt der Mittler werden.
Den Toten er das Leben gab,
und legt dabei all Krankheit ab!
Bis sich die Zeit herdrange
daß er für uns geopfert würd
trug unser Sünd ein schwere Bürd
wohl an dem Kreuze lange.
O man, thy grievous sin bemoan,
For which Christ left His Father's throne,
From highest heaven descending.
Of Virgin pure and undefiled
He here was born, our Saviour mild,
For sin to make atonement.
The dead He raised to life again.
The sick He freed from grief and pain.
Until the time appointed
That He for us should give His Blood,
Should bear our sins' o'erwhelming load,
The shameful Cross enduring.
 
Autograph score of BWV 622, O Mensch, bewein dein Sünde groß
 
Twelve scenes from the life of Christ, 15C painting from Cologne

"O Mensch" is one of the most celebrated of Bach's chorale preludes. The cantus firmus, composed in 1525 by Matthias Greitter and associated with Whitsuntide, was also later used with the same words for the closing chorale of the first part of the St Matthew Passion, taken from the 1725 version of the St John Passion. Bach ornamented the simple melody, in twelve phrases reflecting the twelve lines of the opening verse, with an elaborate coloratura. It recalls but also goes beyond the ornamental chorale preludes of Buxtehude. The ornamentation, although employing conventional musical figures, is highly original and inventive. While the melody in the upper voice is hidden by coloratura over a wide range, the two inner voices are simple and imitative above the continuo-style bass. Bach varies the texture and colouring of the accompaniment for each line of what is one of the longest melodies in the collection.

 

In the penultimate line, accompanying the words "ein schwere Bürd" (a heavy burden), the inner parts intensify moving in semiquavers (16th notes) with the upper voice to a climax on the highest note in the prelude. The closing phrase, with its mounting chromatic bass accompanying bare unadorned crotchets (quarter notes) in the melody to end in an unexpected modulation to C♭ major, recall but again go beyond earlier compositions of Pachelbel, Frohberger and Buxtehude. It has been taken by some commentators as a musical allusion to the words kreuze lange in the text: for Spitta the passage was "full of imagination and powerful feeling." As Williams (2003) comments, however, the inner voices, "with their astonishing accented passing-notes transcend images, as does the sudden simplicity of the melody when the bass twice rises chromatically."

  • BWV 623 Wir danken dir, Herr Jesu Christ [We give thanks to you, Lord Jesus Christ]
 
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Man of Sorrows, early 16C stained glass from Steinfeld Abbey

Below is the German text of the 1568 Lutheran hymn by the Bohemian theologian Christoph Fischer, with the English translation of Benjamin Hall Kennedy.

Wir danken dir, Herr Jesu Christ,
daß du für uns gestorben bist
und hast uns durch dein teures Blut
gemacht vor Gott gerecht und gut,
∘∘∘
Und bitten dich, wahr'r Mensch und Gott,
durch dein' heilig' fünf Wunden rot,
erlös' uns von dem ew'gen Tod
und tröst uns in der letzten Not!
∘∘∘
Nehüt uns auch vor Sünd' und Schand',
reich uns dein' allmächtige Hand,
daß wir im Kreuz geduldig sei'n
uns trösten deiner schweren Pein
∘∘∘
Und draus schöpfen die Zuversicht,
daß du uns werd'st verlaßen nicht,
sondern ganz treulich bei uns stehn,
bis wir durchs Kreuz ins Leben gehn.
We bless Thee, Jesus Christ our Lord;
For ever be Thy name adored:
For Thou, the sinless One, hast died
That sinners might be justified.
∘∘
O very Man, and very God,
Redeem us with Thy precious blood;
From death eternal set us free,
And make us one with God in Thee.
∘∘
From sin and shame defend us still.
And work in us Thy stedfast will,
The Cross with patience to sustain,
And bravely bear its utmost pain.
∘∘
In Thee we trust, in Thee alone;
For Thou forsakest not Thine own:
To all the meek Thy strength is given,
Who by Thy Cross ascend to heaven.
  • BWV 624 Hilf, Gott, daß mir's gelinge [Help me, God, that I may succeed] a 2 Clav. et Ped.
 
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The Transfiguration, early 16C stained glass from Mariawald Abbey near Cologne

Below is the text of the hymn from the Ballad of the Passion (1527) by Heinrich Müller[40] with a 16th-century translation from The Gude and Godlie Ballatis.

Hilf, Gott, daß mirs gelinge,
du edler Schöpfer mein,
die Silben reimweis zwinge
Lob und Ehren dein,
daß ich mag fröhlich heben an,
von deinem Wort zu singen.
Herr, du wollst mir beistan.
Help, God, the formar of all thing.
That to Thy gloir may be my dyte;
Be baith at end and beginning,
That I may mak ane sang perfyte
Of Jesus Christis Passioun,
Sinnaris onlie Saluatioun,
As witnes is Thy word in write.


Easter BWV 625–630 edit

  • BWV 625 Christ lag in Todesbanden [Christ lay in the bonds of death]
 
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Entombment of Christ, early 16C painting from Cologne

Below are the first and fourth verses of Martin Luther's Easter hymn Christ lag in Todesbanden with the English translation of Paul England.[41]

Christ lag in Todesbanden,
für unsre Sünd' gegeben,
der ist wieder erstanden
und hat uns bracht das Leben.
des wir sollen fröhlich sein,
Gott loben und dankbar sein
und singen: Halleluja!
Halleluja!
∘∘∘
Es war ein wunderlicher Krieg,
da Tod und Leben rungen;
das Leben, das behielt den Sieg,
es hat den Tod verschlungen.
Die Schrift hat verkündet das,
wie ein Tod den andern fraß,
ein Spott der Tod ist worden.
Halleluja!
Christ lay in Death's dark prison,
It was our sin that bound Him;
This day hath He arisen,
And sheds new life around Him.
Therefore let us joyful be
And praise our God right heartily.
So sing we Hallelujah!
Hallelujah!
∘∘∘
How fierce and dreadful was the strife
When Life with Death contended;
For Death was swallowed up by Life
And all his power was ended.
God of old, the Scriptures show,
Did promise that it should be so.
O Death, where's now thy victory?
Hallelujah!

BWV 625 is based on the hymn tune of Luther's "Christ lag in Todesbanden". The sharp on the second note was a more modern departure, already adopted by the composer-organists Bruhns, Böhm and Scheidt and by Bach himself in his early cantata Christ lag in Todes Banden, BWV 4.[42] The chorale prelude is in four parts for single manual and pedals, with the cantus firmus in the soprano voice. It closely follows the four voices of Bach's earlier harmonisation in the four-part chorale BWV 278, with virtually no changes in the cantus firmus.[43] The two accompanying inner parts and pedal are elaborated by a single motif of four or eight semiquavers descending in steps. It is derived from the final descending notes of the melody:

 

The semiquaver motif runs continuously throughout the piece, passing from one lower voice to another. Commentators have given different interpretations of what the motif might symbolise: for Schweitzer (1905) it was "the bonds of death" (Todesbanden) and for Hermann Keller "the rolling away of the stone". Some have also seen the suspensions between bars as representing "the bonds of death". These interpretations can depend on the presumed tempo of the chorale prelude. A very slow tempo was adopted by the school of late nineteenth and early twentieth century French organists, such as Guilmant and Dupré: for them the mood of the chorale prelude was quiet, inward-looking and mournful; Dupré even saw in the descending semiquavers "the descent by the holy women, step by step, to the tomb". At a faster tempo, as has become more common, the mood becomes more exultant and vigorous, with a climax at the words Gott loben und dankbar sein ("praise our God right heartily"), where the music becomes increasingly chromatic. Williams (2003) suggests that the motif might then resemble the Gewalt ("power") motif in the cello part of BWV 4, verse 3; and that the turmoil created by the rapidly changing harmonies in some bars might echo the word Krieg ("war") in verse 4.[44][45]

  • BWV 626 Jesus Christus, unser Heiland, der den Tod überwand [Jesus Christ, our Saviour, who conquered death]
 
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Resurrection, Wildungen Altarpiece, Konrad von Soest

Below is the first verse of Martin Luther's Easter hymn Jesus Christus, unser Heiland, der den Tod überwand with the English translation by George MacDonald.

Jesus Christus unser Heiland,
der den Tod überwand,
ist auferstanden,
die Sünd' hat er gefangen.
Kyrie eleison!
Jesus Christ, our Saviour true,
He who Death overthrew,
Is up arisen,
And sin hath put in prison.
Kyrieleison.
  • BWV 627 Christ ist erstanden [Christ is risen]
 
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Resurrection, Albrecht Altdorfer

Below is the text of the three verses of the Easter hymn Christ ist erstanden with the English translation of Myles Coverdale.

Christ ist erstanden
Von der Marter alle,
Des solln wir alle froh sein,
Christ will unser Trost sein.
Kyrieleis.
∘∘∘
Wär er nicht erstanden,
So wär die Welt vergangen;
Seit daß er erstanden ist,
So lobn wir den Vater Jesu Christ.
Kyrieleis.
∘∘∘
Halleluja,
Halleluja, Halleluja!
Des solln wir alle froh sein,
Christ will unser Trost sein.
Kyrieleis.
Christe is now rysen agayne
From His death and all His payne:
Therfore wyll we mery be,
And rejoyse with Him gladly.
Kirieleyson,
∘∘∘
Had He not rysen agayne,
We had ben lost, this is playne:
But sen He is rysen in dede.
Let us love Hym all with spede.
Kirieleyson.
∘∘∘
Now is tyme of gladnesse.
To synge of the Lorde's goodnesse:
Therfore glad now wyll we be,
And rejoyse in Hym onely.
Kirieleyson.
  • BWV 628 Erstanden ist der heil'ge Christ [The holy Christ is risen]
 
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Resurrection, Isenheim Altarpiece, Matthias Grünewald

Below is the traditional Easter carol Surrexit Christus hodie in German and English translations.

Erstanden ist der heilge Christ, alleluia
der aller Welt ein Tröster ist alleluia.
Und wär er nicht erstanden, alleluia
so wär die Welt vergangen, alleluia.
Christ our Lord is Risen to-day, Hallelujah
Christ, our Life, our Light, our Way, Hallelujah.
The Object of our Love and Faith, Hallelujah
Who but died to conquer Death, Hallelujah.
  • BWV 629 Erschienen ist der herrliche Tag [The glorious day has come] a 2 Clav. et Ped.
 
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Christ with angels, early 16C stained glass from Steinfeld Abbey

Below is the first verse of Nikolaus Herman's hymn Erschienen ist der herrlich Tag with the English translation of Arthur Russell.

Erschienen ist der herrlich Tag,
dran sich niemand gnug freuen mag;
Christ, unser Herr, heut triumphiert,
all seine Feind er gefangen führt.
Halleluja!
The day hath dawned — the day of days
Transcending all our joy and praise:
This day our Lord triumphant rose;
This day He captive led our foes.
Hallelujah!
  • BWV 630 Heut triumphieret Gottes Sohn [Today the Son of God triumphs]
 
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Last Judgement, Eichstätt, early 16C stained glass designed by Hans Holbein

Below is the first verse of Caspar Stolshagen's Easter hymn Heut triumphieret Gottes Sohn by Bartholomäus Gesius with the English translation of George Ratcliffe Woodward.

Heut triumphieret Gottes Sohn,
der von dem Tod erstanden schon,
Halleluja, Halleluja,
mit großer Pracht und Herrlichkeit,
des dankn wir ihm in Ewigkeit.
Halleluja, Halleluja.
Today God's only-gotten Son
Arose from death, and triumph won,
Alleluya, Alleluya,
In mighty pomp and rich array;
His therefore be the praise alway.
Alleluya, Alleluya.

Pentecost BWV 631–634 edit

  • BWV 631 Komm, Gott Schöpfer, Heiliger Geist [Come God, Creator, Holy Ghost]
 
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Pentecost, early 17C stained glass from Wettingen Abbey in Switzerland

Below are the first and last verses of Martin Luther's hymn for Pentecost Komm, Gott Schöpfer, Heiliger Geist with the English translation of George MacDonald.

Komm, Gott Schöpfer, Heiliger Geist,
besuch' das Herz der Menschen dein,
mit Gnaden sie füll', wie du weißt,
daß dein Geschöpf vorhin sein.
∘∘∘
Gott Vater sei Lob und dem Sohn,
der von den Todten auferstund;
dem Tröster sei dasselb' gethan
in Ewigkeit alle Stund'.
Come, God, Creator, Holy Ghost,
Visit the heart of all Thy men;
Fill them with grace, the way Thou know'st;
What Thine was, make it again.
∘∘∘
Praise God the Father, and the Son,
Who from the dead arose in power;
Like praise to the Consoling One,
Evermore and every hour.
  • BWV 632 Herr Jesu Christ, dich zu uns wend [Lord Jesus Christ, turn to us]
 
BWV 632
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Pentecost, Wildunger Altarpiece, Konrad von Soest

 

Below are the first and third verses of the Lutheran hymn Herr Jesu Christ, dich zu uns wend by Wilhelm, Duke of Saxe-Weimar (1648) with the English translation of John Christian Jacobi. Throughout Thuringia and Saxony this became the hymn that the congregation sang as the priest entered the pulpit before delivering his Sunday sermon.

Herr Jesu Christ, dich zu uns wend,
dein'n Heil'gen Geist du zu uns send!
mit Lieb' und Gnad', Herr, uns regier
und uns den Weg zu Wahrheit führ.
∘∘∘
Bis wir singen mit Gottes Heer:
heilig, heilig ist Got der Herr!
und schauen dich von Angesicht
in ew'ger Freud' und sel'gem Licht.
Lord Christ, reveal Thy holy face,
And send the Spirit of Thy grace,
To fill our hearts with fervent zeal.
To learn Thy truth, and do Thy will.
∘∘∘
Till we with angels join to sing
Eternal praise to Thee, our King;
Till we behold Thy face most bright,
In joy and everlasting light.
 
Hymn in 1691 Württemberg hymnal with soprano clef

Although, with its references to the Holy Spirit, the hymn has relevance to Pentecost, its customary use in Sunday services almost certainly prompted Bach to compose several settings (BWV 622, BWV 655, BWV 709, BWV 726 and BWV 749). Johann Gottfried Walther, Bach's distant cousin and the organist in the Stadtkirche in Weimar, also set the hymn as a chorale prelude and as a partita with many variations.

BWV 632 is written for single keyboard and pedal with the cantus firmus in the soprano part: it starts with a characteristic triad, at first concealed by the intermediate notes of the legato dotted rhythm. The same suspirans triad motif, like a broken chord or arpeggio, forms the basis of the accompaniment in the two inner voices: the imitative responses between the parts providing a steady flow of semiquaver figures, rising and falling, melifluous and sweet. More than a simple accompaniment, the push the harmonies forward, revealing it unexpectedly at every turn. Below them the pedal bass provides a distinctive accompaniment in quavers and crotchets, starting off with a quaver triad. Although largely moving in steps, like a walking bass, the pedal plays a type of canon two octaves below the cantus. The canon is itself disguised, in crotchets in the first half with the same rhythm as the soprano; but in the second half it is heard in fragmentary form at double the speed in quavers.

The accompanying arpeggio motifs in the inner parts are not dissimilar to figurations in settings of the hymn by Georg Böhm and Walther (the 6th variation in his partita). But the light and airy texture of the keyboard writing has more in common with the harpsichord allemande, such as BuxWV 238/1 below, from the thirteenth keyboard suite of Dieterich Buxtehude: the introductory upbeat; the repeats of binary dance form; and the arpeggiated accompaniment at the cadences.

 

The reprise of the second part differs from the hymn as it appears in hymnbooks; but the stream of repeated triadic motifs—which Schweitzer (1911a) interpreted as constant repetitions of Herr Jesu Christ—add to the mood of supplication in the chorale prelude. Hermann Keller has suggested that Bach might have employed the canon as musical iconography for the plea to be "led" at the end of the first verse: und uns den Weg zu Wahrheit führ ("and lead us on the path of truth").[46][47]

  • BWV 633 Liebster Jesu, wir sind hier (distinctius) [Dearest Jesus, we are here] in Canone alla Quinta, a 2 Clav. et Ped.
 
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  • BWV 634 Liebster Jesu, wir sind hier [Dearest Jesus, we are here] in Canone alla Quinta, a 2 Clav. et Ped.
 
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Supper at Emmaus, early 16C German stained glass

Below is the first verse of Tobias Clausnitzer's Lutheran hymn Liebster Jesu, wir sind hier with the English translation of Catherine Winkworth.

Liebster Jesu, wir sind hier,
dich und dein Wort anzuhören;
lenke Sinnen und Begier
auf die süßen Himmelslehren,
daß die Herzen von der Erden
ganz zu dir gezogen werden.
Blessed Jesu, at Thy word
We are gathered all to hear Thee;
Let our hearts and souls be stirred
Now to seek and love and fear Thee,
By Thy teachings sweet and holy
Draw from earth to love Thee solely.

Catechism hymns BWV 635–638 edit

  • BWV 635 Dies sind die heil'gen zehn Gebot [These are the ten commandments]
 
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Albrecht Dürer: Moses receiving the Ten Commandments, stained glass panel, Jakobskirche, Straubing

Below are the first and last two verses of the Lutheran catechism hymn Dies sind die heil'gen zehn Gebot (the Ten Commandments) with an English translation by George MacDonald.

Dies sind die heil'gen Zehn Gebot',
die uns gab unser Herre Gott
durch Moses, seinen Diener treu,
hoch auf dem Berg Sinai.
Kyrieleis!
∘∘∘
Die Gebot all' uns geben sind,
daß du dein' Sünd', o Menschenkind,
erkennen sollst und lernen wohl,
wie man vor Gott leben soll.
Kyrieleis!
∘∘∘
Das helf' uns der Herr Jesus Christ,
der unser Mittler worden ist;
es ist mit unserm Tun verlor'n,
verdienen doch eitel Zorn.
Kyrieleis!
These are the holy ten commands,
Which came to us from God's own hands,
By Moses, who obeyed His will,
On the top of Sinai's hill.
Kyrioleis.
∘∘∘
To us come these commands, that so
Thou, son of man, thy sins mayst know.
And with this lesson thy heart fill,
That man must live for God's will.
Kyrioleis.
∘∘∘
May Christ our Lord help us in this,
For He our mediator is;
Our own work is a hopeless thing,
Wrath alone all it can bring.
Kyrioleis.
 
The Ten Commandments in the 1524 hymnbook of Luther and Walter

The Lutheran Erfurter Enchiridion of 1524 contains the text with the melody, which was also used for In Gottes Nahmen fahren wir, a pilgrims' hymn. Bach wrote a four-part chorale on the hymn tune in BWV 298; he used it for the trumpet canon in the opening chorus of cantata BWV 77; and much later he set it for organ in the first two of the catechism chorale preludes, BWV 678 and 679, of Clavier-Übung III.

The chorale prelude BWV 635 is in the mixolydian mode with the cantus firmus in the soprano voice in simple minims. The accompaniment in the three lower voices is built up from two motifs each containing the repeated notes that characterise the theme. The first motif in quavers is a contracted version of the first line of the cantus (GGGGGGABC), first heard in the pedal bass in bars 1 and 2. It also occurs in inverted form. This emphatic hammering motif is passed imitatively between the lower voices as a form of canon. The second motif, first heard in the alto part in bars 2 and 3, is made up of five groups of 4 semiquavers, individual groups being related by inversion (first and fifth) and reflection (second and third). The pivotal notes CCCDEF in this motif are also derived from the theme. The second motif is passed from voice to voice in the accompaniment—there are two passages where it is adapted to the pedal with widely spaced semiquavers alternating between the feet—providing an unbroken stream of semiquavers complementing the first motif.

The combined affekt of the four parts, with 25 repetitions of the quaver motif, is one of "confirming" the biblical laws chanted in the verses of the hymn. There is likewise a reference to "law" in the canon of the quaver motif. For Spitta (1899) the motif had "an inherent organic connection with the chorale itself." Some commentators, aware that the number "ten" of the Ten Commandments has been detected in the two chorale preludes of Clavier-Übung III, have endeavoured to find a hidden numerology in BWV 635. The attempts of Schweitzer (1905) have been criticised: Harvey Grace felt that Bach was "expressing the idea of insistence, order, dogma—anything but statistics." Williams (2003) points out, however, that if there is any intentional numerology, it might be in the occurrences of the strict form of the motif, with tone and semitone intervals matching the first entry: it occurs precisely ten times in the chorale prelude (b1 – bass; b1 – tenor; b2 – bass; b4 – bass; b9 – tenor; b10 – bass; b11 – tenor; b13 – tenor; b15 – alto; b18 – tenor).[48][49]

  • BWV 636 Vater unser im Himmelreich [Our Father who art in Heaven]
 
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Hans Brosamer, 1550: woodcut in Luther's Small Catechism of Christ teaching His disciples the Lord's Prayer

Below are the first and last verses of the Lutheran version of the Lord's Prayer with the English translation of George MacDonald.

Vater unser im Himmelreich,
der du uns alle heißest gleich
Brüder sein und dich rufen an
und willst das Beten von uns hab'n,
gib, daß nicht bet' allein der Mund,
hilf, daß es geh' von Herzensgrund!
∘∘∘
Amen, das ist, es werde wahr!
stärk unsern Glauben immerdar,
auf daß wir ja nicht zweifeln dran,
was wir hiermit gebeten hab'n
auf dein Wort in dem Namen dein;
so sprechen wir das Amen fein.
Our Father in the heaven Who art,
Who tellest all of us in heart
Brothers to be, and on Thee call,
And wilt have prayer from us all,
Grant that the mouth not only pray,
From deepest heart oh help its way.
∘∘∘
Amen, that is, let this come true!
Strengthen our faith ever anew,
That we may never be in doubt
Of that we here have prayed about.
In Thy name, trusting in Thy word.
We say a soft Amen, O Lord.

Following the publication of the text and melody in 1539, the hymn was used in many choral and organ compositions. Amongst Bach's immediate predecessors, Dieterich Buxtehude wrote two settings of the hymn for organ—a freely composed chorale prelude in three verses (BuxWV 207) and a chorale prelude for two manuals and pedal (BuxWV 219); and Georg Böhm composed a partita and two chorale preludes (previously misattributed to Bach as BWV 760 and 761). Bach himself harmonised the hymn in BWV 416, with a later variant in one of the chorales from the St John Passion. He used it in cantatas BWV 90, 100 and 102 with a different text. Amongst the early organ compositions on Vater unser attributed to Bach, only the chorale prelude BWV 737 has been ascribed with any certainty. After Orgelbüchlein, Bach returned to the hymn with a pair of chorale preludes (BWV 682 and 683) in Clavier-Übung III.

In the chorale prelude BWV 636 the plain cantus firmus is in the soprano voice. The accompaniment in the inner parts and pedal is based on a four-note semiquaver suspirans motif (i.e. preceded by a rest or "breath") and a longer eight-note version; both are derived from the first phrase of the melody. In turn Bach's slight alteration of the melody in bars 1 and 3 might have been dictated by his choice of motif. The two forms of the motif and their inversions pass from one lower voice to another, producing a continuous stream of semiquavers; semiquavers in one voice are accompanied by quavers in the other two. The combined effect is of the harmonisation of a chorale by arpeggiated chords. Hermann Keller even suggested that Bach might have composed the chorale prelude starting from an earlier harmonisation; as Williams (2003) points out, however, although the harmonic structure adheres to that of a four-part chorale, the pattern of semiquavers and suspended notes is different for each bar and always enhances the melody, sometimes in unexpected ways. Schweitzer (1905) described the accompanying motifs as representing "peace of mind"(quiétude).[50][51][52]

  • BWV 637 Durch Adams Fall ist ganz verderbt [Through Adam's fall are wholly ruined]
 
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Marriage, Temptation and Fall of Adam, sixteenth century stained glass from Steinfeld Abbey

Below are the first and seventh verses of the hymn written in 1524 by Lazarus Spengler with an English translation by John Christian Jacobi.

Durch Adams Fall ist ganz verderbt
menschlich Natur und Wesen,
dasselb Gift ist auf uns errebt,
daß wir nicht mocht'n genesen
ohn' Gottes Trost, der uns erlöst
hat von dem großen Schaden,
darein die Schlang Eva bezwang,
Gotts Zorn auf sich zu laden.
∘∘∘
Wer hofft in Gott und dem vertraut,
wird nimmermehr zu Schanden;
denn wer auf diesen Felsen baut,
ob ihm gleich geht zuhanden
wie Unfalls hie, hab ich doch nie
den Menschen sehen fallen,
der sich verläßt auf Gottes Trost,
er hilft sein Gläub'gen allen.
When Adam fell, the frame entire
Of nature was infected;
The source, whence came the poison dire,
Was not to be corrected:
The lust accursed, indulged at first,
Brought death as its production;
But God's free grace hath saved our race
From misery and destruction.
∘∘∘
But, who makes God his Hope and trust,
Shall never be confounded:
No Cleaver to this Rock is lost,
Thou' ev'ry where surrounded
With daring foes and trying woes;
His Faith yet stands unshaken.
Who loves the Lord shall by no sword
Or woe be overtaken.
 
Durch Adams Fall in Luther's Geistliche Lieder, Wittenberg 1535

The penitential text, written in the Nuremberg of Hans Sachs and the Meistersingers where Spengler was town clerk, is concerned with "human misery and ruin," faith and redemption; it encapsulates some of the central tenets of the Lutheran Reformation. The melody, originally for a Reformation battle hymn of 1525, was first published with Spengler's text in 1535. Bach previously set it as a chorale prelude in the Kirnberger Collection (BWV 705) and Neumeister Collection (BWV 1101); the seventh verse also recurs in the closing chorales of cantatas BWV 18 and BWV 109. Dieterich Buxtehude had already set the hymn as a chorale prelude (BuxWV 183) prior to Bach.

The chorale prelude BWV 637 is one of the most original and imaginative in the Orgelbüchlein, with a wealth of motifs in the accompaniment. Scored for single manual and pedal, the unadorned cantus firmus is in the soprano voice. Beneath the melody in a combination of four different motifs, the inner parts wind sinuously in an uninterrupted line of semiquavers, moving chromatically in steps. Below them the pedal responds to the melodic line with downward leaps in diminished, major and minor sevenths, punctuated by rests. Bach's ingenious writing is constantly varying. The expressive mood is heightened by the fleeting modulations between minor and major keys; and by the dissonances between the melody and the chromatic inner parts and pedal. The abrupt leaps in the pedal part create unexpected changes in key; and halfway through the chorale prelude the tangled inner parts are inverted to produce an even stranger harmonic texture, resolved only in the final bars by the modulation into a major key.

The chorale prelude has generated numerous interpretations of its musical imagery, its relation to the text and to baroque affekt. Williams (2003) records that the dissonances might symbolise original sin, the downward leaps in the pedal the fall of Adam, and the modulations at the close hope and redemption; the rests in the pedal part could be examples of the affekt that the seventeenth century philosopher Athanasius Kircher called "a sighing of the spirit." Stinson (1999) points out that the diminished seventh interval used in the pedal part was customarily associated with "grief." The twisting inner parts have been interpreted as illustrating the words verderbt ("ruined") by Hermann Keller and Schlang ("serpent") by Jacques Chailley. Terry (1921) described the pedal part as "a series of almost irremediable stumbles"; in contrast Ernst Arfken saw the uninterrupted cantus firmus as representing constancy in faith. For Wolfgang Budday, Bach's departure from normal compositional convention was itself intended to symbolise the "corruption" and "depravity" of man. Spitta (1899) also preferred to view Bach's chorale prelude as representing the complete text of the hymn instead of individual words, distinguishing it from Buxtehude's earlier precedent. Considered to be amongst his most expressive compositions—Snyder (1987) describes it as "imbued with sorrow"—Buxtehude's setting employs explicit word-painting.[53][54][55]

  • BWV 638 Es ist das Heil uns kommen her [Salvation has come to us]
 
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"Es ist das Heil uns kommen her" in the Erfurt Enchiridion, 1524


The first verse of the Lutheran hymn Es ist das Heil uns kommen her of Paul Speratus is given below with the English translation of John Christian Jacobi.

Es ist das Heil uns kommen her
von Gnad' und lauter Güte,
die Werke helfen nimmermehr,
sie mögen nicht behüten,
der Glaub' sieht Jesus Christus an
der hat g'nug für uns all' getan,
er ist der Mittler worden.
Our whole salvation doth depend
On God's free grace and Spirit;
Our fairest works can ne'er defend
A boast in our own merit:
Derived is all our righteousness
From Christ and His atoning grace;
He is our Mediator.

The text treats a central Lutheran theme—only faith in God is required for redemption. The melody is from an Easter hymn. Many composers had written organ settings prior to Bach, including Sweelinck, Scheidt and Buxtehude (his chorale prelude BuxWV 186). After Orgelbüchlein, Bach set the entire hymn in cantata Es ist das Heil uns kommen her, BWV 9; and composed chorales on single verses for cantatas 86, 117, 155 and 186.

In the chorale prelude BWV 638 for single manual and pedal, the cantus firmus is in the soprano voice in simple crotchets. The accompaniment in the inner voices is built on a four-note motif—derived from the hymn tune—a descending semiquaver scale, starting with a rest or "breath" (suspirans): together they provide a constant stream of semiquavers, sometimes in parallel sixths, running throughout the piece until the final cadence. Below them the pedal is a walking bass in quavers, built on the inverted motif and octave leaps, pausing only to mark the cadences at the end of each line of the hymn. The combination of the four parts conveys a joyous mood, similar to that of BWV 606 and 609. For Hermann Keller, the running quavers and semiquavers "suffuse the setting with health and strength." Stinson (1999) and Williams (2003) speculate that this chorale prelude and the preceding BWV 637, written on opposite sides of the same manuscript paper, might have been intended as a pair of contrasting catechism settings, one about sin, the other about salvation. Both have similar rhythmic structures in the parts, but one is in a minor key with complex chromatic harmonies, the other in a major key with firmly diatonic harmonies.[56][57]

Miscellaneous BWV 639–644 edit

  • BWV 639 Ich ruf zu dir, Herr Jesu Christ [I call to you, Lord Jesus Christ] a 2 Clav. et Ped.
 
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Autograph manuscript of Ich ruf zu dir, Herr Jesu Christ, BWV 639

Below is the first verse of Johannes Agricola's hymn with the English translation of John Christian Jacobi.

Ich ruf zu dir, Herr Jesu Christ,
ich bitt, erhör mein Klagen;
verleih mir Gnad zu dieser Frist,
laß mich doch nicht verzagen.
Den rechten Glauben, Herr, ich mein,
den wollest du mir geben,
dir zu leben,
meim Nächsten nütz zu sein,
dein Wort zu halten eben.
Lord, hear the voice of my complaint,
To Thee I now commend me,
Let not my heart and hope grow faint,
But deign Thy grace to send me.
True faith from Thee, my God, I seek,
The faith that loves Thee solely.
Keeps me lowly,
And prompt to aid the weak,
And mark each word that Thou dost speak.

"Ich ruf zu dir" is amongst the most popular chorale preludes in the collection. Pure in style, this ornamental chorale prelude has been described as "a supplication in time of despair." Written in the meantone key of F minor, it is the unique prelude in trio form with voices in the two manuals and the pedal. It is possible that the unusual choice of key followed Bach's experience playing the new organ at Halle which employed more modern tuning. The ornamented melody in crotchets (quarter notes) sings in the soprano above a flowing legato semiquaver (16th note) accompaniment and gently pulsating repeated quavers (eighth notes) in the pedal continuo. Such viol-like semiquaver figures in the middle voice already appeared as "imitatio violistica" in the Tabalutara nova (1624) of Samuel Scheidt. The instrumental combination itself was used elsewhere by Bach: in the third movement of the cantata Schmücke dich, o liebe Seele, BWV 180 for soprano, violoncello piccolo and continuo; and the 19th movement of the St John Passion, with the middle voice provided by semiquaver arpeggios on the lute.

A close variant of BWV 639 is catalogued as BWV Anh. 73, an expanded arrangement for organ, attributed to the composer's son C.P.E. Bach.[58]

  • BWV 640 In dich hab ich gehoffet, Herr [In you have I put my hope, Lord]
 
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Raising of Lazarus, early 16C stained glass from Mariawald Abbey near Cologne

Below is the first verse of the Lutheran hymn In dich hab ich gehoffet, Herr of Adam Reissner with the English translation of Catherine Winkworth.

In dich hab' ich gehoffet, Herr,
hilf, daß ich nicht zuschanden werd'
noch ewiglich zu Spotte!
Das bitt' ich dich,
erhalte mich
in deiner Treu', mein Gotte!
In Thee, Lord, have I put my trust,
Leave me not helpless in the dust,
Let not my hope be brought to shame,
But still sustain,
Through want and pain.
My faith that Thou art aye the same.
 
Melody and text of hymn from Das Gros Kirchen Gesangbuch, Strasbourg 1560

The text of the hymn is derived from the first six lines of Psalm 31 and was associated with two different melodies, in major and minor keys. The hymn tune in the major key was used many times by Bach, most notably in the funeral cantata BWV 106, the Christmas Oratorio and the St. Matthew Passion. BWV 640 is the only occasion he used the melody in the minor key, which can be traced back to an earlier reformation hymn tune for Christ ist erstanden and medieval plainsong for Christus iam resurrexit.

In Bach's chorale prelude BWV 640, the cantus firmus is in the soprano voice, several times held back for effect. Beneath it the two inner voices—often in thirds—and the pedal provide an accompaniment based on a motif derived from the melody, a falling three-note anapaest consisting of two semiquavers and a quaver. The motif is passed imitatively down through the voices, often developing into more flowing passages of semiquavers; the motif in the pedal has an added quaver and—punctuated by rests—is more fragmentary. The harmonies resulting from the combined voices produce a hymn-like effect. Schweitzer (1905) described the anapaest as a "joy" motif; to Hermann Keller it symbolised "constancy". For Williams (2003), the angular motifs and richer subdued textures in the lower registers are consonant with the "firm hope" of the text, in contrast to more animated evocations of joy.[59][incomplete short citation][60]

  • BWV 641 Wenn wir in höchsten Nöten sein [When we are in the greatest distress] a 2 Clav. et Ped.
 
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Adriaen Isenbrandt, Our Lady of the Seven Sorrows

Below are the first two verses of the hymn of Paul Eber with the English translation of Catherine Winkworth.

Wenn wir in höchsten Nöten sein
und wissen nicht, wo aus noch ein,
und finden weder Hilf' noch Rat,
ob wir gleich sorgen früh und spat:
∘∘∘
So ist dies unser Trost allein,
daß wir zusammen insgemein
dich rufen an, o treuer Gott,
um Rettung aus der Angst und Not.
When in the hour of utmost need
We know not where to look for aid,
When days and nights of anxious thought
Nor help nor counsel yet have brought,
∘∘∘
Then this our comfort is alone,
That we may meet before Thy throne,
And cry, O faithful God, to Thee,
For rescue from our misery.

The cantus firmus of this ornamental chorale prelude was written by Louis Bourgeois in 1543. It was used again the last of the Great Eighteen Chorale Preludes, BWV 668. The accompaniment in the two middle voices, often in parallel sixths, and the pedal is derived from the first four notes of the melody. The highly ornate ornamentation is rare amongst Bach's chorale preludes, the only comparable example being BWV 662 from the Great Eighteen. The vocal ornamentation and portamento appoggiaturas of the melody are French in style. Coloratura passages lead into the unadorned notes of the cantus firmus. Williams (2003) describes this musical device, used also in BWV 622 and BWV 639, as a means of conveying "a particular kind of touching, inexpressible expressiveness." The prelude has an intimate charm: as Albert Schweitzer commented, the soprano part flows "like a divine song of consolation, and in a wonderful final cadence seems to silence and compose the other parts."

  • BWV 642 Wer nur den lieben Gott läßt walten [He who allows dear God to lead him]
 
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Miracle of the Loaves and Fishes, early 16C Flemish stained glass

Below are the first and last verses of the hymn Wer nur den lieben Gott läßt walten of Georg Neumark with the English translation of Catherine Winkworth.

Wer nur den lieben Gott läßt walten
und hoffet auf ihn allezeit,
den wird er wunderlich erhalten
in allem Kreuz und Traurigkeit.
Wer Gott, dem Allerhöchsten, traut,
der hat auf keinen Sand gebaut.
∘∘∘
Sing, bet und geh auf Gottes Wegen,
verricht das Deine nur getreu
und trau des Himmels reichem Segen,
so wird er bei dir werden neu;
denn welcher sine Zuversicht
auf Gott setzt, den verläßt er nicht.
If thou but suffer God to guide thee,
And hope in Him through all thy ways,
He'll give thee strength, whate'er betide thee.
And bear thee through the evil days.
Who trusts in God's unchanging love
Builds on the rock that nought can move.
∘∘∘
Sing, pray, and keep His ways unswerving.
So do thine own part faithfully.
And trust His word ; though undeserving,
Thou yet shalt find it true for thee —
God never yet forsook at need
The soul that trusted Him indeed.

The melody was also composed by Neumark: it and the text were first published in his hymn book of 1657. The hymn tune was later set to other words, notably "Wer weiß, wie nahe mir mein Ende" ("Who knows how near is my end?"). Neumark originally wrote the melody in 3
2 time. Bach, however, like Walther, Böhm and Krebs, generally preferred a version in 4
4 time for his fourteen settings in chorale preludes and cantatas: it appears in cantatas BWV 21, BWV 27, BWV 84, BWV 88, BWV 93, BWV 166, BWV 179 and BWV 197, with words taken from one or other of the two hymn texts. In the chorale prelude BWV 642, the unadorned cantus firmus in 4
4 time is in the soprano voice. The two inner voices, often in thirds, are built on a motif made up of two short beats followed by a long beat—an anapaest—often used by Bach to signify joy (for example in BWV 602, 605, 615, 616, 618, 621, 623, 627, 629, 637 and 640). The pedal has a walking bass which also partly incorporates the joy motif in its responses to the inner voices. For Schweitzer (1905) the accompaniment symbolised "the joyful feeling of confidence in God's goodness." BWV 642 has similarities with the earlier chorale prelude BWV 690 from the Kirnberger collection, with the same affekt of a delayed entry in the second half of the cantus firmus. The compositional structure for all four voices in BWV 642 is close to that of BWV 643.[61][62]

  • BWV 643 Alle Menschen müssen sterben [All mankind must die]
 
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Martin Schongauer, Noli me tangere

Below are the first and last two verses of the funeral hymn of Johann Georg Albinus with the English translation of Catherine Winkworth.

Alle Menschen müßen sterben,
alles Fleisch vergeht wie Heu;
was da lebet, muß verderben,
soll es anders werden neu.
Dieser Leib, der muß verwesen,
wenn er anders soll genesen
zu der großen Herrlichkeit,
die den Frommen ist bereit.
∘∘∘
O Jerusalem, du Schöne,
ach, wie helle glänzest du!
Ach, wie lieblich Lobgetöne
hört man da in sanfter Ruh'!
O der großen Freud' und Wonne!
Jetzund gehet auf die Sonne,
jetzund gehet an der Tag,
der kein Ende nehmen mag.
∘∘∘
Ach, ich habe schon erblicket
diese große Herrlichkeit!
Jetzund werd' ich schön geschmücket
mit dem weißen Himmelskleid
und der goldnen Ehrenkrone,
stehe da vor Gottes Throne,
schaue solche Fruede an,
die kein Ende nehmen kann.
Hark! a voice saith, All are mortal,
Yea, all flesh must fade as grass,
Only through Death's gloomy portal
To a better life ye pass,
And this body, formed of clay,
Here must languish and decay.
Ere it rise in glorious might,
Fit to dwell with saints in light.
∘∘∘
O Jerusalem, how clearly
Dost thou shine, thou city fair!
Lo ! I hear the tones more nearly
Ever sweetly sounding there!
Oh what peace and joy hast thou!
Lo the sun is rising now,
And the breaking day I see
That shall never end for me!
∘∘∘
Yea, I see what here was told me.
See that wondrous glory shine.
Feel the spotless robes enfold me.
Know a golden crown is mine;
So before the throne I stand.
One amid that glorious band,
Gazing on that joy for aye
That shall never pass away!

BWV 643 is one of the most perfect examples of Bach's Orgelbüchlein style. A mood of ecstasy permeates this chorale prelude, a funeral hymn reflecting the theme of heavenly joy. The simple cantus firmus sings in crotchets (quarter notes) above an accompanying motif of three semiquavers (16th notes) followed by two quavers (eighth notes) that echoes between the two inner parts and the pedal. This figure is also found in the organ works of Georg Böhm and Daniel Vetter from the same era. Schweitzer (1905) describes its use by Bach as a motif of "beatific peace", commenting that "the melody of the hymn that speaks of the inevitability of death is thus enveloped in a motif that is lit up by the coming glory." Despite the harmonious thirds and sixths in the inner parts, the second semiquaver of the motif produces a momentary dissonance that is instantly resolved, again contributing to the mood of joy tinged by sadness. As Spitta (1899) comments, "What tender melancholy lurks in the chorale, Alle Menschen müßen sterben, what an indescribable expressiveness, for instance, arises in the last bar from the false relation between c♯ and c', and the almost imperceptible ornamentation of the melody!"

  • BWV 644 Ach wie nichtig, ach wie flüchtig [Oh how fleeting, oh how feckless]
 
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Bartholomäus Bruyn, Memento Mori


Below are the first and last verses of Michael Franck's 1652 Lutheran hymn Ach wie flüchtig, ach wie nichtig with the English translation of Sir John Bowring.

Ach wie flüchtig,
ach wie nichtig
ist der Menschen Leben!
Wie Ein Nebel bald enstehet
und auch wie der bald vergehet
so ist unser Leben sehet!
∘∘∘
Ach wie nichtig,
ach wie flüchtig
sind der Menschen Sachen!
Alles, alles was wir sehen,
das muß fallen und vergehen.
Wer Gott fürcht', wird ewig stehen.
O how cheating,
O how fleeting,
Is our earthly being!
'Tis a mist in wintry weather,
Gathered in an hour together,
And as soon dispersed in ether.
∘∘∘
O how fleeting,
O how cheating,
All—yes! all that's earthly!
Everything is fading, flying,
Man is mortal, earth is dying.
Christian! live on Heaven relying.
 
Small organ in the Marienkirche in Halle which Bach played in 1713 in an audition for organist and subsequently evaluated in 1716

The verses of Franck's hymn alternate the order of the words nichtig and flüchtig in their opening lines. Bach's title conforms to a later 1681 hymnbook from Weimar which inverted the order throughout. The chorale prelude is in four voices for single manual with pedals. The cantus firmus in the soprano voice is a simple form of the hymn tune in crotchets. The accompaniment, intricately crafted from two separate motifs in the inner voices and in the pedal, is a particularly fine illustration of Bach's compositional method in the Orgelbüchlein. The motif in the pedal is a constant three-note quaver figure, with octave leaps punctuated by frequent rests. Above this bass, the inner voices weave a continuous pattern of descending and ascending scales in semiquavers, constantly varying, sometimes moving in the same direction and sometimes in contrary motion. This texture of flowing scales over a "quasi-pizzicato" bass captures the theme of the hymn: it is a reflection on the transitory nature of human existence, likened to a mist "gathered in an hour together, and soon dispersed." Similar semiquaver figures had been used in other contemporary settings of this hymn, for example in a set of variations by Böhm[63]

 
4th variation of Georg Böhm's partita on Ach wie nichtig

and in the first chorus of Bach's cantata BWV 26, but without conveying the same effect of quiet reflection. To Spitta (1899) the scales "hurry by like misty ghosts." Hermann Keller saw the bass motif as representing "the futility of human existence." Others have suggested that the rests in the pedal part might symbolise the nothingness of ach wie nichtig. Exceptionally Bach scored the final chord of this nebulous piece without pedal. A similar device has been used by Bach for the word inanes ("empty") in the ninth movement of his Magnificat. Stinson (1999) also sees similarities with Bach's omission of a bass part in Wie zittern und wanken from cantata BWV 105, an aria concerned with the uncertainties in the life of a sinner.[63][64]

Reception edit

The Orgelbüchlein was originally passed from teacher to student and was not published in its entirety until Felix Mendelssohn edited an edition. Notable editions have been made by Robert Clark and John David Peterson, Quentin Faulkner, Albert Riemenschneider, and Albert Schweitzer.

Transcriptions edit

Arranger and instrumentation Published title Original chorale prelude by BWV number
Johann Nepomuk Schelble, piano duet Var. Choraele fürs P.f. zu 4 Haenden eingerichtet, Dunst, undated. BWV 620a, 614, 622
Adolph Bernhard Marx, piano Anzahl aus Sebastian Bach's Kompositionen, zur ersten Bekanntschaft mit dem Meister am Pianoforte, Challier, 1844. BWV 614, 619
Ferruccio Busoni, piano Orgelchoralvorspiele von Johann Sebastian Bach: Auf das Pianoforte im Kammerstyl übertragen, 2 vols, Breitkopf & Härtel, 1898. BWV 615, 617, 637, 639
Max Reger, piano Ausgewählte Choralvorspiele von Joh. Seb. Bach: Für Klavier zu 2 Händen übertragen, Universal Edition, 1900. BWV 614, 622, 637, 639, 644
Bernhard Friedrich Richter, piano duet Joh. Seb. Bachs Werke, Nach der Ausgabe der Bachgesellschaft. Orgelbüchlein: 46 kürzere Choralbearbaitungen für Klavier zu vier Händen, Breitkopf & Härtel, 1902. BWV 599-644
Max Reger, string orchestra Johann Sebastian Bach: "O Mensch, bewein dein Sünde gross." Aria nach dem Choralvorspiel für Streichorchester bearbeitet, Breitkopf & Härtel, 1915 BWV 622
Max Reger, violin and organ Album für Violine mit Orgelbegleitung, Breitkopf & Härtel, 1915 BWV 622
Leopold Stokowski, orchestra Arrangements of several of the chorale preludes for the Philadelphia Orchestra, 1916–1926 BWV 599, 639
Walter Rummel, piano Adaptations, Ser. 1 (J.S. Bach), J. & W. Chester, 1922 BWV 614
Vittorio Gui, orchestra Due corale di J.S. Bach. Trascritti dall' organo per orchestra, Universal Edition, 1925. BWV 615, 622
Harry Hodge, string orchestra Johann Sebastian Bach: organ choral preludes arranged for strings, Patterson's Publications, 1926. BWV 600, 639
William Murdoch, piano Johann Sebastian Bach: organ choral preludes arranged for pianoforte, Schott, 1928 BWV 622, 639
Marco Enrico Bossi, violin or viola and organ Johann Sebastian Bach: "O Mensch, bewein dein Sünde gross." Edition Euterpe, 1929 BWV 622
Arthur Bliss, piano A Bach Book for Harriet Cohen: Transcriptions for Pianoforte from the works of J.S. Bach, Oxford University Press, 1932 BWV 614
Herbert Howells, piano A Bach Book for Harriet Cohen: Transcriptions for Pianoforte from the works of J.S. Bach, Oxford University Press, 1932 BWV 622
Constant Lambert, piano A Bach Book for Harriet Cohen: Transcriptions for Pianoforte from the works of J.S. Bach, Oxford University Press, 1932 BWV 605
Harry S. Hirsch, oboe, clarinet, bassoon Johann Sebastian Bach: I Call Upon Thy Name O Jesus, Carl Fischer, 1934 BWV 639
Alexander Kelberine, piano Joh. Seb. Bach: Organ Chorale Prelude, "Ich ruf' zu dir, Herr Jesu Christ", Elkan-Vogel, 1934 BWV 639
Mabel Wood-Hill, string quartet/orchestra J.S. Bach: Chorale Preludes, R.D. Roe, 1935. BWV 615, 619, 623
Eric DeLamarter, string orchestra J.S. Bach: Chorale Prelude Das alte Jahr vergangen ist, Ricordi, 1940 BWV 614
Amedeo de Filippi, string quartet/orchestra Johann Sebastian Bach: Blessed Jesus, We Are Here (Chorale Prelude), Concord 1940. BWV 633
Boris Goldovsky, 2 pianos J.S. Bach: Oh, How Fleeting, J. Fischer and Bro., 1940. BWV 644
Felix Guenther, piano Johann Sebastian Bach: 24 chorale preludes compiled and arranged for piano, solo, Edward B. Marks, 1942 BWV 814, 615, 623, 639
Max Reger, piano Johann Sebastian Bach: drei Orgelchoralvorspiele, für Klavier gearbeitet, Breitkopf & Härtel, 1943, BWV 606, 638
Charles Henry Stuart Duncan, 2 pianos Johann Sebastian Bach: eleven chorale preludes from the little organ book, G. Schirmer, 1949 BWV 600, 601, 608, 609, 610, 625, 627, 633, 636, 637, 643
Anne Hull, 2 pianos Johann Sebastian Bach: Chorale Prelude In dir ist Freude, Carl Fischer, 1950 BWV 615
Wilhelm Kempff, piano Johann Sebastian Bach: Ich ruf' zu dir, Herr Jesu Christ (Choralvorspiel), Bote & Bock, 1954 BWV 639
György Kurtág, 2 pianos Transcriptions from Machaut to J.S. Bach, Editio Musica Budapest, 1985. BWV 611, 618, 619, 637, 643, 644
Harrison Birtwistle, soprano, clarinet in A, basset horn, bass clarinet Five Chorale Preludes, Universal Edition, 1975. BWV 637, 620, 614 (and BWV 691 and 728)
Harrison Birtwistle, chamber ensemble Bach Measures, Boosey and Hawkes, 1996. BWV 599, 639, 617, 619, 628, 615, 622, 637

Discography edit

 
Arp Schnitger organ in Cappel

See also edit

Notes edit

  1. ^ Anon. n.d.
  2. ^ Geck 2005, p. 91.
  3. ^ Stinson 1999, pp. 3–10
  4. ^ Haupt 2000 Example of a possible registration for BWV 605 with glockenspiel:
  5. ^ Rose 2008; Wollny & Maul 2008.
  6. ^ See:
  7. ^ Wolff 1991.
  8. ^ Stinson 2003, pp. 499–527.
  9. ^ See:
  10. ^ Williams 2003, p. 236
  11. ^ Stinson 1999, pp. 80–81
  12. ^ Williams 2003, pp. 245–247
  13. ^ Williams 2003, pp. 249–250
  14. ^ Stinson 1999, pp. 82–83
  15. ^ Williams, Peter (22 September 2009). The Organ Music of J. S. Bach (2nd ed.). Cambridge University Press. p. 30. ISBN 978-0511481871. Retrieved 21 August 2016.
  16. ^ a b Williams 2003, p. 586 Similar to the Bach motif but with different pitches, this is a four-note figure with the first and fourth notes having the same pitch, but the second and third notes higher and lower (or lower and higher); so named because the two lines joining the end notes and the middle notes form a cross.
  17. ^ Williams 2003, pp. 250–251
  18. ^ Stinson 1999, pp. 83–85
  19. ^ Benitez 1987, p. 6
  20. ^ Clark & Peterson 1984, p. 75
  21. ^ Williams 2003, pp. 251–252
  22. ^ Stinson 1999, pp. 106–108
  23. ^ Williams 2003, pp. 253–255
  24. ^ Stinson 1999, pp. 85–87
  25. ^ Williams 2003, pp. 255–256
  26. ^ Stinson 1999, p. 88
  27. ^ Williams 2003, pp. 256–258
  28. ^ Stinson 1999, pp. 107–109
  29. ^ Stinson 1999, p. 109; Stinson 2006, p. 206; Williams 1985, pp. 39–41; Williams 2003, pp. 260–262.
  30. ^ a b c Williams 2003, pp. 264–265
  31. ^ a b c Stinson 1999, pp. 110–111
  32. ^ Kielian-Gilbert 2006
  33. ^ Emery, Walter (1941), "Footnotes to Sanford Terry's 'Bach's Chorals'", Musical Times, 82 (1175): 13–15, 58–60, doi:10.2307/921966, JSTOR 921966
  34. ^ a b Renwick 2006
  35. ^ Temperley 2006
  36. ^ Williams 2003, p. 266
  37. ^ Emery 1938.
  38. ^ Williams 2003, pp. 277–278
  39. ^ Stinson 1999, pp. 88–89
  40. ^ Terry 1921, p. 203 The initial letters of the thirteen verses spell Heinrich Müler
  41. ^ Williams 2003, p. 285 England's translation is taken from Terry (1921, p. 118) who reproduces all seven verses.
  42. ^ Williams 2003, pp. 284–285
  43. ^ Renwick 1995, pp. 4–6
  44. ^ Williams 2003, pp. 284–286
  45. ^ Stinson 1999, pp. 111–112
  46. ^ Williams 2003, pp. 296–298
  47. ^ Stinson 1999, pp. 92–94
  48. ^ Williams 2003, pp. 300–302
  49. ^ Stinson 1999, pp. 94–95
  50. ^ Williams 2003, pp. 302–303
  51. ^ Snyder 1987
  52. ^ Stinson 1999, pp. 95–96
  53. ^ Williams 2003, pp. 303–305
  54. ^ Stinson 1999, pp. 97–98
  55. ^ Benitez 1987, p. 10
  56. ^ Williams 2003, pp. 305–306
  57. ^ Stinson 1999, pp. 99–100
  58. ^ Richards & Yearsley 2008, p. xvii
  59. ^ Stinto 1999, pp. 120–121.
  60. ^ Williams 2003, pp. 310.
  61. ^ Williams 2003, pp. 311–313
  62. ^ Stinson 1999, p. 122
  63. ^ a b Williams 2003, pp. 314–316
  64. ^ Stinson 1999, pp. 124–125

Sources edit

  • Anon. (n.d.). "Orgelbüchlein Project". Retrieved 13 May 2020.
  • Benitez, Vincent P. (1987). "Musical-rhetorical figures in the Orgelbüchlein of J. S. Bach". Bach. 18 (1): 3–21. JSTOR 41640282.
  • Boyd, Malcolm (2000), Bach, Master musicians (3rd ed.), Oxford University Press, ISBN 0-19-514222-5
  • Chailley, Jacques (1974), Les chorales pour orgues de J.-S. Bach, Leduc, ISBN 2856890113
  • Clark, Robert; Peterson, John David, eds. (1984), Orgelbüchlein, Concordia
  • Geck, Martin (2005), Bach, London: Haus Publishing, ISBN 1-904341-16-0
  • Emery, Walter (October 1938), "The Orgelbuchlein: Some Textual Matters: I. Readings of the tablature in 'Christus, der uns selig macht'", The Musical Times, 79 (1148): 770–771, doi:10.2307/923787, JSTOR 923787
  • Haupt, Hartmut (2000), Stauffer, George B.; May, Ernest (eds.), Bach's organs in Thuringia, J. S. Bach as Organist: His Instruments, Music, and Performance Practices, Indiana University Press, pp. 25–30, ISBN 0-253-21386-X
  • Honders, A. Casper (1988), "Het 'Orgel-Büchlein' gehoord vanuit de teksten", in Brouwer, Frans (ed.), Bachs 'Orgel-Büchlein' in nieuw perspectief; Studies over Bachs 'Orgel-Buchlein'. Verslag van het internationale Bach-Congres van de Nederlandse Organistenvereniging, Groningen 1985, KerkMLiturg, vol. 1, Utrecht, Hogeschool voor de Kunsten, pp. 21–51
  • Kielian-Gilbert, Marianne (2006), "Inventing a Melody with Harmony: Tonal Potential and Bach's "Das alte Jahr vergangen ist"" (PDF), Journal of Music Theory, 50: 77–101, doi:10.1215/00222909-2008-008
  • Keller, Hermann (1948), The organ works of Bach: a contribution to their history, form, interpretation and performance (transl. Helen Hewitt, 1967), C.F. Peters
  • Renwick, William (1995), Analyzing Fugue: A Schenkerian Approach, Pendragon Press, ISBN 0945193521
  • Renwick, W. (2006), "Of Time and Eternity: Reflections on "Das alte Jahr vergangen ist"" (PDF), Journal of Music Theory, 50: 65–76, doi:10.1215/00222909-2008-007
  • Richards, Annette; Yearsley, David (2008), (PDF), Packard Humanities Institute, ISBN 978-1-933280-33-2, archived from the original (PDF) on 2016-08-04
  • Rose, Stephen (2008), "Review of The Creative Development of Johann Sebastian Bach, i: 1695–1717. Music to Delight the Spirit. By Richard D. P. Jones", Music & Letters, 89: 618–620, doi:10.1093/ml/gcm124, archived from the original on 2013-04-15
  • Schweitzer, Albert (1905), J.S.Bach le musicien-poète, Breitkopf & Härtel
  • Schweitzer, Albert (1911a), J.S.Bach, Volume I, Breitkopf & Härtel
  • Schweitzer, Albert (1911b), J.S.Bach, Volume II, Breitkopf & Härtel
  • Snyder, Kerala (1987), Dieterich Buxtehude: Organist in Lübeck, Schirmer Books, ISBN 0-02-873080-1
  • Spitta, Philipp (1899), Johann Sebastian Bach: his work and influence in the music of Germany, Volume I (transl. Clara Bell & J.A. Fuller Maitland), Novello
  • Stinson, Russell (1999), Bach: the Orgelbüchlein, Oxford University Press, ISBN 978-0-19-386214-2
  • Stinson, Russell (2006), The reception of Bach's organ works from Mendelssohn to Brahms, Oxford University Press, ISBN 0-19-517109-8
  • Temperley, David (2006), "Key Structure in "Das alte Jahr vergangen ist"" (PDF), Journal of Music Theory, 50: 103–110, doi:10.1215/00222909-2008-009
  • Terry, Charles Sanford (1921), Bach's Chorals, vol. III, Cambridge University Press
  • Williams, Peter (1985), The Organ Music of J.S. Bach, Volume II: BWV 599–771, etc., Cambridge Studies in Music, Cambridge University Press, ISBN 0-521-31700-2
  • Williams, Peter (2003), The Organ Music of J. S. Bach (2nd ed.), Cambridge University Press, pp. 227–316, ISBN 0-521-89115-9
  • Wolff, Christoph (1991), Bach: essays on his life and music, Harvard University Press, pp. 297–305, ISBN 0-674-05926-3, Chapter 22. "Chronology and style in the early works: a background for the Orgelbüchlein"
  • Wollny, Peter; Maul, Michael (2008), "The Weimar Organ Tablature: Bach's Earliest Autographs" (PDF), Understanding Bach, 3: 67–74

Further reading edit

  • Geck, Martin (2000). Bach: Leben und Werk (in German). Reinbek: Rowohlt. ISBN 3-498-02483-3.
  • Hiemke, Sven, ed. (2004), Orgelbüchlein: BWV 599-644: Faksimile nach dem Autograph in der Staatsbibliothek zu Berlin Preussischer Kulturbesitz, Laabe Verlag, ISBN 3890075703
  • Hiemke, Sven (2007), Johann Sebastian Bach – Orgelbüchlein, Bärenreiter Verlag, ISBN 978-3761817346
  • Jones, Richard Douglas (2007), The Creative Development of Johann Sebastian Bach: Music to Delight the Spirit, Volume 1: 1695–1717, Oxford University Press, ISBN 978-0-19-816440-1
  • Wolff, Christoph (2002), Johann Sebastian Bach: The Learned Musician, Oxford University Press, ISBN 0-19-924884-2

External links edit

  • Part 1 and Part 2 of scanned images of the autograph manuscript of the Orgelbüchlein at IMSLP
  • Das Orgel-Büchlein, BWV 599–644: Scores at the International Music Score Library Project
  • Free scores on Mutopia of the whole collection of 46 chorale preludes from the Orgelbüchlein.
  • Free downloads of the complete Orgelbüchlein recorded by James Kibbie on the 1717 Trost organ, St. Walpurgis, Großengottern, Germany: either search for individual works or download the whole collection
  • The Orgelbüchlein Project, a project to complete the missing chorale preludes listed in Bach's original plan.

February 12, 2024
orgelbüchlein, little, organ, book, chorale, preludes, organ, them, given, versions, johann, sebastian, bach, three, were, written, between, 1708, 1717, when, bach, served, organist, ducal, court, weimar, remainder, short, fragment, came, earlier, than, 1726, . The Orgelbuchlein Little Organ Book BWV 599 644 is a set of 46 chorale preludes for organ one of them is given in two versions by Johann Sebastian Bach All but three were written between 1708 and 1717 when Bach served as organist to the ducal court in Weimar the remainder and a short two bar fragment came no earlier than 1726 after the composer s appointment as cantor at the Thomasschule in Leipzig The court chapel at the Schloss in Weimar where Bach was court organist The organ loft is visible at the top of the picture Bach s apparent plan was for a collection of 164 settings of chorale tunes sung during the Church year so that each part of the year was represented However only 46 of these were completed The manuscript which is now in the Staatsbibliothek leaves a number of tunes as missing or ghost pieces These have been added in the 21st century 1 this project took nine hours in the first complete performance giving an idea of the potential scope of Bach s little book The Orgelbuchlein as Bach left it contains about 80 minutes of music which span the liturgical calendar Each setting takes a Lutheran chorale adds a motivic accompaniment and quite freely explores form Many of the preludes are short and use four contrapuntal voices All have a pedal part some requiring only a single keyboard and pedal with an unadorned cantus firmus Others involve two keyboards and pedal These include several canons four ornamental four part preludes with elaborately decorated chorale lines and one prelude in trio sonata form A further step towards perfecting this form was taken by Bach when he made the contrapuntal elements in his music a means of reflecting certain emotional aspects of the words Pachelbel had not attempted this he lacked the fervid feeling which would have enabled him thus to enter into his subject And it is entering into it and not a mere depicting of it For once more be it said in every vital movement of the world external to us we behold the image of a movement within us and every such image must react upon us to produce the corresponding emotion in that inner world of feeling Philipp Spitta 1873 writing about the Orgelbuchlein in Volume I of his biography of Bach Here Bach has realised the ideal of the chorale prelude The method is the most simple imaginable and at the same time the most perfect Nowhere is the Durer like character of his musical style so evident as in these small chorale preludes Simply by the precision and the characteristic quality of each line of the contrapuntal motive he expresses all that has to be said and so makes clear the relation of the music to the text whose title it bears Albert Schweitzer Jean Sebastien Bach le musicien poete 1905 Contents 1 Title page 2 History 3 Purpose 4 Compositional style 5 Chorale Preludes BWV 599 644 5 1 Advent BWV 599 602 5 2 Christmas BWV 603 612 5 3 New Year BWV 613 615 5 4 Candlemas BWV 616 617 5 5 Lent BWV 618 624 5 6 Easter BWV 625 630 5 7 Pentecost BWV 631 634 5 8 Catechism hymns BWV 635 638 5 9 Miscellaneous BWV 639 644 6 Reception 7 Transcriptions 8 Discography 9 See also 10 Notes 10 1 Sources 11 Further reading 12 External linksTitle page edit nbsp Title page of the Orgelbuchlein Orgel Buchlein Worrine einem anfahenden Organisten Anleitung gegeben wird auff allerhand Arth einen Choral durchzufuhren an bey auch sich im Pedal studio zu habi litiren indem in solchen darinne befindlichen Choralen das Pedal gantz obligat tractiret wird Dem Hochsten Gott allein zu Ehren Dem Nechsten draus sich zu belehren Autore Joanne Sebast Bach p t Capellae Magistri S P R Anhaltini Cotheniensis Little Organ Book In which a beginning organist receives given instruction as to performing a chorale in a multitude of ways while achieving mastery in the study of the pedal since in the chorales contained herein the pedal is treated entirely obbligato In honour of our Lord alone That my fellow man his skill may hone Composed by Johann Sebastian Bach Capellmeister to his Serene Highness the Prince of Anhalt Cothen 2 Planned content of the Orgelbuchlein as indicated in the autograph manuscript 3 Number Title Liturgical significance Page BWV1 Nun komm der Heiden Heiland Advent 1 5992 Gott durch dein Gute or Gottes Sohn ist kommen Advent 2 3 6003 Herr Christ der ein ge Gottessohn or Herr Gott nun sei gepreiset Advent 4 6014 Lob sei dem allmachtigen Gott Advent 5 6025 Puer natus in Bethlehem Christmas 6 7 6036 Lob sei Gott in des Himmels Thron Christmas 77 Gelobet seist du Jesu Christ Christmas 8 6048 Der Tag der ist so freudenreich Christmas 9 6059 Von Himmel hoch da komm ich her Christmas 10 60610 Von Himmel kam der Engel Schar Christmas 11 10 60711 In dulci jubilo Christmas 12 13 60812 Lobt Gott ihr Christen allzugleich Christmas 14 60913 Jesu meine Freude Christmas 15 61014 Christum wir sollen loben schon Christmas 16 61115 Wir Christenleut Christmas 17 61216 Helft mir Gotts Gute preisen New Year 18 61317 Das alte Jahr vergangen ist New Year 19 61418 In dir ist Freude New Year 20 21 61519 Mit Fried und Freud ich fahr dahin Nunc dimittis Purification 22 61620 Herr Gott nun schleuss den Himmel auf Purification 23 23a 61721 O Lamm Gottes unschuldig Passiontide 24 24a 61822 Christe du Lamm Gottes Passiontide 25 61923 Christus der uns selig macht Passiontide 26 620a 62024 Da Jesu an dem Kreuze stund Passiontide 27 62125 O Mensch bewein dein Sunde gross Passiontide 28 29 62226 Wir danken dir Herr Jesu Christ dass du fur uns gestorben bist Passiontide 30 62327 Hilf Gott das mir s gelinge Passiontide 31 30a 62428 O Jesu wie ist dein Gestalt Passiontide 3229 O Traurigkeit o Herzeleid fragment Passiontide 33 Anh 20030 Allein nach dir Herr allein nach dir Herr Jesu Christ verlanget mich Passiontide 34 3531 O wir armen Sunder Passiontide 3632 Herzliebster Jesu was hast du verbrochen Passiontide 3733 Nun gibt mein Jesus gute Nacht Passiontide 3834 Christ lag in Todesbanden Easter 39 62535 Jesus Christus unser Heiland der den Tod uberwand Easter 40 62636 Christ ist erstanden Easter 41 43 62737 Erstanden ist der heil ge Christ Easter 44 62838 Erscheinen ist der herrliche Tag Easter 45 62939 Heut triumphieret Gottes Sohn Easter 46 47 63040 Gen Himmel aufgefahren ist Ascension 4841 Nun freut euch Gottes Kinder all Ascension 4942 Komm Heiliger Geist erfull die Herzen deiner Glaubigen Pentecost 50 5143 Komm Heiliger Geist Herre Gott Pentecost 52 5344 Komm Gott Schopfer Heiliger Geist Pentecost 54 631a 63145 Nun bitten wir den Heil gen Geist Pentecost 5546 Spiritus Sancti gratia or Des Heil gen Geistes reiche Gnad Pentecost 5647 O Heil ger Geist du gottlich s Feuer Pentecost 5748 O Heiliger Geist o heiliger Gott Pentecost 5849 Herr Jesu Christ dich zu uns wend Pentecost 59 63250 Liebster Jesu wir sind hier Pentecost 60 63451 Liebster Jesu wir sind hier distinctius Pentecost 61 63352 Gott der Vater wohn uns bei Trinity 62 6353 Allein Gott in der Hoh sei Ehr Trinity 6454 Der du bist drei in Einigkeit Trinity 6555 Gelobet sei der Herr der Gott Israel Benedictus St John the Baptist 6656 Meine Seele erhebt den Herren Magnificat Visitation 6757 Herr Gott dich loben alle wir St Michael and All Angels 6858 Er stehn vor Gottes Throne St Michael and All Angels 6959 Herr Gott dich loben wir St Simon and St Jude Apostles 70 7160 O Herre Gott dein gottlich Wort Reformation Festival 7261 Dies sind die heil gen zehn Gebot Ten Commandments 73 63562 Mensch willst du leben seliglich Ten Commandments 7463 Herr Gott erhalt uns fur und fur Ten Commandments 7564 Wir glauben all an einem Gott Creed 76 7765 Vater unser im Himmelreich Lord s Prayer 78 63666 Christ unser Herr zu Jordan kam Holy Baptism 7967 Auf tiefer Not schrei ich zu dir Psalm 130 Confession Penitence and Justification 8068 Erbarm dich mein o Herre Gott Confession Penitence and Justification 8169 Jesu der du meine Seele Confession Penitence and Justification 8270 Allein zu dir Herr Jesu Christ Confession Penitence and Justification 8371 Ach Gott und Herr Confession Penitence and Justification 8472 Herr Jesu Christ du hochstes Gut Confession Penitence and Justification 8573 Ach Herr mich armen Sunder Confession Penitence and Justification 8674 Wo soll ich fliehen hin Confession Penitence and Justification 8775 Wir haben schwerlich Confession Penitence and Justification 8876 Durch Adams Fall ist ganz verderbt Confession Penitence and Justification 89 63777 Es ist das Heil uns kommen her Confession Penitence and Justification 90 63878 Jesus Christus unser Heiland Lord s Supper 9179 Gott sei gelobet und gebenedeiet Lord s Supper 92 9380 Der Herr is mein getreuer Hirt Psalm 23 Lord s Supper 9481 Jetzt komm ich als ein armer Gast Lord s Supper 9582 O Jesu du edle Gabe Lord s Supper 9683 Wir danken dir Herr Jesu Christ dass du das Lammlein worden bist Lord s Supper 9784 Ich weiss ein Blumlein hubsch und fein Lord s Supper 9885 Nun freut euch lieben Christen g mein Lord s Supper 9986 Nun lob mein Seel den Herren Psalm 103 Lord s Supper 100 10187 Wohl dem der in Gottes Furcht steht Christian Life and Conduct 10288 Wo Gott zum Haus nicht gibt sein Gunst Psalm 127 Christian Life and Conduct 10389 Was mein Gott will das g scheh allzeit Christian Life and Conduct 10490 Kommt her zu mir spricht Gottes Sohn Christian Life and Conduct 10591 Ich ruf zu dir Herr Jesu Christ Christian Life and Conduct 106 107 63992 Weltlich Ehr und zeitlich Gut Christian Life and Conduct 10793 Von Gott will ich nicht lassen Christian Life and Conduct 10894 Wer Gott vertraut Christian Life and Conduct 10995 Wie s Gott gefallt so gefallt mir s auch Christian Life and Conduct 11096 O Gott du frommer Gott Christian Life and Conduct 11197 In dich hab ich gehoffet Herr Psalm 31 Christian Life and Conduct 11298 In dich hab ich gehoffet Herr alia modo Christian Life and Conduct 113 64099 Mag ich Ungluck nicht widertstahn Christian Life and Conduct 114100 Wenn wir in hochsten Noten sein Christian Life and Conduct 115 641101 An Wasserflussen Babylon Psalm 137 Christian Life and Conduct 116 117102 Warum betrubst du dich mein Herz Christian Life and Conduct 118103 Frisch auf mein Seel verzage nicht Christian Life and Conduct 119104 Ach Gott wie manches Herzeleid Christian Life and Conduct 120105 Ach Gott erhor mein Seufzen und Wehklagen Christian Life and Conduct 121106 So wunsch ich nun eine gute Nacht Psalm 42 Christian Life and Conduct 122107 Ach lieben Christen seid getrost Christian Life and Conduct 123108 Wenn dich Ungluck tut greifen an Christian Life and Conduct 124109 Keinen hat Gott verlassen Christian Life and Conduct 125110 Gott ist mein Heil mein Hulf und Trost Christian Life and Conduct 126111 Was Gott tut das ist wohlgetan kein einig Mensch ihn tadeln kann Christian Life and Conduct 127112 Was Gott tut das ist wohlgetan es bleibt gerecht sein Wille Christian Life and Conduct 128113 Wer nur den lieben Gott lasst walten Christian Life and Conduct 129 642114 Ach Gott vom Himmel sieh darein Psalm 12 Psalm Hymns 130115 Es spricht der Unweisen Mund wohl Psalm 14 Psalm Hymns 131116 Ein feste Burg ist unser Gott Psalm 46 Psalm Hymns 132117 Es woll uns Gott genadig sein Psalm 67 Psalm Hymns 133118 War Gott nicht mit uns diese Zeit Psalm 124 Psalm Hymns 134119 Wo Gott der Herr nicht bei uns halt Psalm 124 Psalm Hymns 135120 Wie schon leuchtet der Morgernstern Word of God and Christian Church 136 137121 Wie nach einer Wasserquelle Psalm 42 Word of God and Christian Church 138122 Erhalt uns Herr bei deinem Wort Word of God and Christian Church 139123 Lass mich dein sein und bleiben Word of God and Christian Church 140124 Gib Fried o frommer treuer Gott Word of God and Christian Church 141125 Du Friedefurst Herr Jesu Christ Word of God and Christian Church 142126 O grosser Gott von Macht Word of God and Christian Church 143127 Wenn mein Stundlein vorhanden ist Death and Dying 144128 Herr Jesu Christ wahr Mensch und Gott Death and Dying 145129 Mitten wir im Leben sind Death and Dying 146 147130 Alle Menschen mussen sterben Death and Dying 148131 Alle Menschen mussen sterben alio modo Death and Dying 149 643132 Valet will ich dir geben Death and Dying 150133 Nun lasst uns den Leib begraben Death and Dying 151134 Christus der ist mein Leben Death and Dying 152135 Herzlich lieb hab ich dich o Herr Death and Dying 152 153136 Auf meinen lieben Gott Death and Dying 154137 Herr Jesu Christ ich weiss gar wohl Death and Dying 155138 Mach s mit mir Gott nach deiner Gut Death and Dying 156139 Herr Jesu Christ meins Lebens Licht Death and Dying 157140 Mein Wallfahrt ich vollendet hab Death and Dying 158141 Gott hat das Evangelium Death and Dying 159142 Ach Gott tu dich erbarmen Death and Dying 160143 Gott des Himmels und der Erden Morning 161144 Ich dank dir lieber Herre Morning 162145 Aus Meines Herzens Grunde Morning 163146 Ich dank dir schon Morning 164147 Das walt mein Gott Morning 165148 Christ der du bist der helle Tag Evening 166149 Christe der du bist Tag und Licht Evening 167150 Werde munter mein Gemute Evening 168151 Nun ruhen alle Walder Evening 169152 Dankt dem Herrn denn er ist sehr freundlich Psalm 136 After Meals 170153 Nun lasst uns Gott dem Herren After Meals 171154 Lobet dem Herren denn er ist sehr freundlich Psalm 147 After Meals 172155 Singen wir aus Herzensgrund After Meals 173156 Gott Vater der du deine Sonn Good Weather 174157 Jesue meines Herzens Freud Appendix 175158 Ach was soll ich Sunder machen Appendix 176159 Ach wie nichtig ach wie fluchtig Appendix 177 644160 Ach was ist doch unser Leben Appendix 178161 Allenthalben wo ich gehe Appendix 179162 Hast du denn Jesu dein Angesicht ganzlich verborgen or Soll ich denn Jesu mein Leben in Trauern beschliessen Appendix 180163 Sei gegrusset Jesu gutig or O Jesu du edle Gabe Appendix 181164 Schmucke dich o liebe Seele Appendix 182History edit nbsp Baroque organ in the Johanniskirche in Luneburg where Bach s teacher Georg Bohm was organist nbsp Organ in St Blasius Church in Mulhausen reconstructed in 1959 to Bach s 1708 09 specifications with a third keyboard and 26 bell glockenspiel 4 Bach s formal training as a musician started when he was enrolled as a chorister at the Michaelskirche in Luneburg in 1700 1702 Manuscripts in Bach s hand recently discovered in Weimar by the Bach scholars Peter Wollny and Michael Maul show that while in Luneburg he studied the organ with Georg Bohm composer and organist at the Johanniskirche The documents are hand copies made in Bohm s home in tablature format of organ compositions by Reincken Buxtehude and others They indicate that already at the age of 15 Bach was an accomplished organist playing some of the most demanding repertoire of the period 5 After a brief spell in Weimar as court musician in the chapel of Johann Ernst Duke of Saxe Weimar Bach was appointed as organist at St Boniface s Church now called the Bachkirche in Arnstadt in the summer of 1703 having inspected and reported on the organ there earlier in the year In 1705 1706 he was granted leave from Arnstadt to study with the organist and composer Dieterich Buxtehude in Lubeck a pilgrimage he famously made on foot In 1707 Bach became organist at St Blasius Church in Muhlhausen before his second appointment at the court in Weimar in 1708 as concertmaster and organist where he remained until 1717 During the period before his return to Weimar Bach had composed a set of 31 chorale preludes these were discovered independently by Christoph Wolff and Wilhelm Krunbach in the library of Yale University in the mid 1980s and first published as Das Arnstadter Orgelbuch They form part of a larger collection of organ music compiled in the 1790s by the organist Johann Gottfried Neumeister 1756 1840 and are now referred to as the Neumeister Chorales BWV 1090 1120 These chorale preludes are all short either in variation form or fughettas 6 Only a few other organ works based on chorales can be dated with any certainty to this period These include the chorale partitas BWV 766 768 and 770 all sets of variations on a given chorale 7 8 incomplete short citation During his time as organist at Arnstadt Bach was upbraided in 1706 by the Arnstadt Consistory for having hitherto introduced sundry curious embellishments in the chorales and mingled many strange notes in them with the result that the congregation has been confused The type of chorale prelude to which this refers often called the Arnstadt type were used to accompany the congregation with modulating improvisatory sections between the verses examples that are presumed to be of this form include BWV 715 722 726 729 732 and 738 The earliest surviving autograph manuscript of a chorale prelude is BWV 739 Wie schon leuchtet der Morgenstern based on an Epiphany hymn It dates from 1705 and possibly was prepared for Bach s visit to Lubeck 9 nbsp Autograph manuscript of BWV 739 nbsp Cranach altarpiece in St Peter und Paul where Bach played the organ nbsp View of Weimar 1686 Wilhelmsburg in centre St Peter and Paul behind Rote Schloss over footbridge on left nbsp Wilhelmsburg Weimar c 1730 built in the 1650s and destroyed by fire in 1774Purpose editThe Orgelbuchlein is simultaneously a compositional treatise a collection of liturgical organ music an organ method and a theological statement These four identities are so closely intertwined that it is hard to know where one leaves off and another begins Stinson 1999 p 25 Compositional style editAlthough there are a few important departures the chorale preludes of the Orgelbuchlein were composed with a number of common stylistic features which characterise and distinguish the so called Orgelbuchlein style 10 They are harmonisations of a cantus firmus which is taken by the soprano voice They are in four parts with three accompanying voices The harmonies are filled out in the accompanying voices by motifs or figures derived from the cantus and written imitatively They begin directly with the cantus either with or without accompaniment There are no breaks between the lines of the cantus for ritornellos or interludes in the accompanying voices The notes ending verse lines in the cantus are marked by fermata pauses Exceptions include BWV 611 Christum wir sollen loben schon where the cantus is in the alto voice BWV 600 608 618 619 620 624 629 and 633 634 where the soprano cantus is in canon with another voice BWV 615 In dir ist Freude where the cantus is heard in canon in all the voices over the accompanying motifs BWV 599 Nun komm der Heiden Heiland and BWV 619 Christe du Lamm Gottes which are written for five voices BWV 639 Ich ruf zu dir Herr Jesu Christ which is written for three voices BWV 617 618 619 and 637 where the accompaniment starts before the cantus Chorale Preludes BWV 599 644 editThe brief descriptions of the chorale preludes are based on the detailed analysis in Williams 2003 and Stinson 1999 The metrical English translations of the texts of the Lutheran chorales are mostly taken from Terry 1921 more literal translations can be found in Williams 2003 and have been provided in the text below when appropriate Advent BWV 599 602 edit BWV 599 Nun komm der Heiden Heiland Come now Saviour of heathens nbsp MIDI rendition source source source Problems playing this file See media help nbsp nbsp The melody and words of Nun komm der Heiden Heiland from the Erfurt Enchiridion 1524Below is the first verse of Luther s advent hymn Nun komm der Heiden Heiland with the translation in English of George MacDonald Nun komm der Heiden Heiland der Jungfrauen Kind erkannt dass sich wundert alle Welt Gott solch Geburt ihm bestellt Come Saviour of nations wild Of the maiden owned the Child Fill with wonder all the earth God should grant it such a birth Although it has often been suggested that this opening advent chorale prelude resembles a French overture in construction with its texture of arpeggiated chords it is more similar to the baroque keyboard preludes of German and French masters such as Couperin The accompanying motif in the lower three or sometimes four parts is derived from a suspirans in the melodic line formed of a semiquaver 16th note rest a breath followed by three semiquavers and a longer fourth note Some commentators have seen this falling figure as representing a descent to earth but it could equally well reflect a repetition of the words Nun komm in the text The suspirans is made up of intervals of a rising second a falling fourth following by yet another rising second It is derived from the first line of the melody of the cantus firmus and often shared out freely between voices in the accompaniment The mystery of the coming of the Saviour is reflected by the somewhat hidden cantus firmus over harmonies constantly reinventing themselves It is less predictable and regular than other settings of the same hymn by Bach or predecessors like Buxtehude only the second and third lines having any regularity The last line repeats the first but with the suspirans suppressed and the dotted rhythms of the bass replaced by a long pedal note possibly reflecting the wonder described in the third and fourth lines of the first verse BWV 600 Gott durch deine Gute God through your goodness or Gottes Sohn ist kommen The Son of God is come nbsp MIDI rendition source source source Problems playing this file See media help nbsp nbsp St John the Baptist with the Lamb of God early 16C stained glass from Mariawald Abbey near CologneBelow is the first of three verses of Johann Spannenberg s advent hymn with the translation in English of Charles Sanford Terry Gott durch deine Gute wolst uns arme Leute Herze Sinn und Gemute fur des Teufels Wuten am Leben und im Todt gnadiglich behuten God of grace and mercy Glance in pity on me Heart and mind and spirit Keep them through Thy merit Satan every hour Waiteth to devour It is set to the same melody as Johann Roh s advent hymn Gottes Sohn ist kommen the first verse of which is given here with the English translation of Catherine Winkworth Gottes Sohn ist kommen uns allen zu Frommen hier auf diese Erden in armen Gebarden dass er uns von Sunde freiet und entbunde Once He came in blessing All our ills redressing Came in likeness lowly Son of God most holy Bore the cross to save us Hope and freedom gave us This chorale prelude is a canon at the octave in the soprano and tenor voices with the tenor entering one bar after the soprano The stops for the canonic parts were explicitly marked by Bach in the autograph score with the high tenor part in the pedal written at the pitch Bach intended and also within the compass of the Weimar organ Bach left no indication that the manualiter parts were to be played on two keyboards indeed as Stinson 1999 points out the autograph score brackets all the keyboard parts together in addition technically at certain points the keyboard parts have to be shared between the two hands The accompaniment is a skillful and harmonious moto perpetuo in the alto and bass keyboard parts with flowing quavers eighth notes in the alto derived from the first four quaver suspirans figure played above a walking bass in detached crotchets quarter notes The hymn was originally written in duple time but to facilitate the canonic counterpoint Bach adopted triple time with a minim beat at half the speed of the bass The bass accompaniment at first is derived directly from the melody during the pauses in the soprano part a second motif recurs The continuous accompaniment in quavers and crotchets is an example of the first of two types of joy motif described by Schweitzer 1911b used to convey direct and naive joy In the words of Albert Riemenschneider the exuberance of the passage work indicates a joyous background BWV 601 Herr Christ der einge Gottes Sohn Lord Christ the only Son of God or Herr Gott nun sei gepreiset Lord God now be praised nbsp MIDI rendition source source source Problems playing this file See media help nbsp nbsp The Annunciation early 16C German stained glass roundelBelow are the first and last verses of Elisabeth Cruciger s hymn for Epiphany Herr Christ der einig Gotts Sohn with the English translation of Myles Coverdale Herr Christ der ein ge Gottes Sohn Vaters in Ewigkeit aus sein m Herzen entsprossen gleichwie geschrieben steht er is der Morgensterne sein Glanzen streckt er ferne vor andern Sternen klar Ertot uns durch dein Gute erweck uns durch dein Gnad den alten Menschen kranke dass der neu leben mag wohl hie auf dieser Erden den Sinn und all Begehren und G danken hab n zu dir Christ is the only Sonne of God The Father Eternall We have in Jesse founde this rod God and Man natural He is the mornynge star His beames sendeth He out farre Beyonde other starres all Awake us Lorde we praye The Thy Holy Spirite us gave Which maye oure olde man mortifie That oure new man maye lyve So wyll we alwaye thanke The That shewest us so great mercye And oure synnes dost forgeve The same melody was used in the postprandial grace Herr Gott nun sei gepreiset the first verse of which is given below with the English translation of Charles Sanford Terry Herr Gott nun sei gepreiset wir sagen frohen Dank dass du uns Gnad erwiesen gegeben Speis und Trank dein mildes Herz zu merken den Glauben uns zu starken dass du seist unser Gott O God in heaven we praise Thee And yield Thee gratitude For all Thy generous bounty For all our daily food For all the love showered on us For all the grace poured on us By Thee our loving Lord According to the chronology of Stinson 1999 this chorale prelude was probably the first to be entered by Bach in the autograph manuscript Already it shows with beguiling simplicity all the features typical of the Orgelbuchlein preludes The cantus firmus is presented unadorned in the soprano line with the other three voices on the same keyboard and in the pedal The accompaniment is derived from the suspirans pedal motif of three semiquavers 16th notes followed by two quavers eighth notes For Schweitzer 1911b this particular motif signified beatific joy representing either intimate gladness or blissful adoration Although the chorale prelude cannot be precisely matched to the words of either hymn the mood expressed is in keeping both with joy for the coming of Christ and gratitude for the bountifulness of God The motif which is anticipated and echoed in the seamlessly interwoven inner parts was already common in chorale preludes of the period Easy to play with alternating feet it figured in particular in the preludes of Buxtehude and Bohm as well as an earlier manualiter setting of the same hymn by Bach s cousin Johann Gottfried Walther Bach however goes beyond the previous models creating a unique texture in the accompaniment which accelerates particularly in the pedal towards the cadences Already in the opening bar as Williams 2003 points out the subtlety of Bach s compositional skills are apparent The alto part anticipates the pedal motif and with it and the later dotted figure echos the melody in the soprano This type of writing in this case with hidden and understated imitation between the voices almost in canon conveying a mood of intimacy was a new feature introduced by Bach in his Orgelbuchlein BWV 602 Lob sei dem allmachtigen Gott Praise be to God Almighty nbsp MIDI rendition source source source Problems playing this file See media help nbsp nbsp Adoration of the Trinity Albrecht DurerBelow are the first two verses of Michael Weisse s advent hymn with the English translation of John Gambold Lob sei dem allmachtigen Gott der unser sich erbarmet hat gefandt sein allerliebsten Sohn aus ihm geborn im hochsten Thron auf dass er unser Heiland wurd uns freiet von der Sundenburd und durch sein Gnade und Wahrheit fuhret zur ewigen Klarheit To God we render thanks and praise Who pitied mankind s fallen race And gave His dear and only Son That us as children He might own He came to seek and save the lost We sinned and He would bear the cost That we might share eternal bliss O what unbounded love was this The cantus firmus for this chorale prelude originates in the Gregorian chant Conditor alme siderum Although in the phrygian mode Bach slightly modifies it replacing some B s by B s in the melody but still ends in the key of A The accompaniment is composed of two motifs both suspirans one in the inner parts contains a joy motif and the other shared between all three lower parts is formed of three semiquavers 16th notes and a longer note or just four semiquavers In the pedal part this prominent descending motif has been taken to symbolise the coming down of divine Majesty Some commentators have suggested that the motion of the inner parts in parallel thirds or sixths might represent the Father and Son in the hymn Albert Riemenschneider described the lower voices as creating an atmosphere of dignified praise Christmas BWV 603 612 edit BWV 603 Puer natus in Bethlehem A boy is born in Bethlehem nbsp MIDI rendition source source source Problems playing this file See media help nbsp nbsp The Nativity Wildungen altarpiece of Konrad von SoestBelow is the first verse of the traditional Latin carol Puer natus in Bethlehem with the English translation of Hamilton Montgomerie MacGill Puer natus est in Bethlehem unde gaudet Ierusalem Alleluia alleluia dd A Child is born in Bethlehem Exult for joy Jerusalem Allelijah Allelujah dd nbsp Treble part of Puer natus in Bethlehem Lossius 1553The cantus firmus in the soprano voice of this chorale prelude is a slight variant of the treble part of a four part setting of Puer natus by Lossius The chorale prelude is in four parts for single manual and pedals It is unusual in that in most published versions no repeats are marked However in the autograph score there are markings by Bach at the end of the score which might indicate that a repeat of the whole prelude was envisaged with first and second time versions for the last bar Some recent editions have incorporated this suggestion The two inner voices and pedal follow the usual Orgelbuchlein pattern providing a harmonious accompaniment with gently rocking quavers in the inner voices and a repeated motif in the pedal rising first and then descending in crotchet steps Various commentators have proposed interpretations of the accompanying motifs the rocking motif to suggest the action of swaddling and the pedal motif as symbolising either the journey of the Magi to Bethlehem Schweitzer 1905 or Christ s descent to earth Chailley 1974 On a purely musical level a mood of increasing wonder is created as the accompaniment intensifies throughout the chorale with more imitative entries in the inner parts 11 12 BWV 604 Gelobet seist du Jesu Christ Praised be you Jesus Christ a 2 Clav et Ped nbsp MIDI rendition source source source Problems playing this file See media help nbsp nbsp The Nativity Albrecht AltdorferBelow is the first verse of Martin Luther s version Gelobet seist du Jesu Christ 1524 of the traditional Christmas hymn Gratis nunc omnes reddamus with the English translation of Myles Coverdale Gelobet seist du Jesu Christ dass du Mensch geboren bist von einer Jungfrau das ist wahr des freuet sich der Engel Schar Kyrieleis dd Now blessed be Thou Christ Jesu Thou art man borne this is true The aungels made a mery noyse Yet have we more cause to rejoyse Kirieleyson dd Bach used the same hymn in other organ compositions as well as in the cantatas BWV 64 91 and 248 parts I and III the Christmas Oratorio The chorale prelude is scored for two manuals and pedal with the cantus firmus in the soprano voice on the upper manual On the lower manual the two inner voices provide the harmonic accompaniment moving stepwise in alternating semiquavers The pedal part responds throughout with a constantly varying motif involving octave semiquaver leaps The chorale prelude is in the mixolydian mode Combined with the unadorned but singing melody and its gentle accompaniment this produces a mood of tenderness and rapture BWV 605 Der Tag der ist so freudenreich The day is so full of joy a 2 Clav et Ped nbsp MIDI rendition source source source Problems playing this file See media help nbsp nbsp The Nativity early 16C stained glass from Mariawald Abbey near CologneBelow is the German version of the Christmas hymn Dies est latitiae with the English translation by Charles Sanford Terry Der Tag der is so freudenreich aller Kreature denn Gottes Sohn vom Himmelreich uber die Nature von einer Jungfrau is geboren Maria du bist auserkoren das du Mutter warest Was geschah so wunderlich Gottes Sohn vom Himmelreich der is Mensch geboren Ein Kindelein so lobelich ist uns geboren heute von einer Jungfrau sauberlich zu Trost uns armen Leuten War uns das Kindein nicht geboren so waren wir allzumal verloren das Heil is unser aller Ei du susser Jesu Christ dass du Mensch geboren bist behuttet uns vor der Holle dd O hail this brightest day of days All good Christian people For Christ hath come upon our ways Ring it from the steeple Of maiden pure is He the Son For ever shall thy praise be sung Christ s fair mother Mary Ever was there news so great God s own Son from heaven s high state Is born the Son of Mary This day the wondrous Child is born Lent to earth from heaven He comes to cheer a world forlorn Its heavy sin to leaven So sing ye all the glorious birth Which doth redeem our fallen earth And works our salvation Laud to Thee Child Jesu Christ With mankind Thou st kept the tryst Thou Star of every nation dd The melody medieval in origin was published with the text in 1529 Apart from BWV 606 Bach composed a harmonisation of the hymn in BWV 294 and set it as a chorale prelude BWV 719 in the Neumeister Collection The chorale prelude BWV 605 is written for two manuals and pedal with the cantus firmus in the soprano part The frequent F s are a hint of the mixolydian mode The accompanying motif is shared between the two inner voices on the second manual which together provide a continuous stream of semiquavers with two hemidemiquavers on the second semiquaver of each group The pedal provides a rhythmic pulse with a semiquaver walking bass with sustained notes at each cadence Williams 2003 suggests that the relative simplicity of BWV 605 and the uniformity of the accompaniment could be signs that it was one of the earliest composed pieces in Orgelbuchlein Dissonances in the pedal in bars 3 and 5 however could also be signs of Bach s more mature style Ernst Arfken and Siegfried Vogelsanger have interpreted some of the dissonant F s as references to elements of foreboding in the text for example Ei du susser Jesu Christ in the second verse The accompanying figure in the inner voices has been interpreted as a joy motif by Schweitzer 1905 as an evocation of rocking by Keller 1948 and as symbolising the miracle of virgin birth by Arfken Many commentators have agreed with Spitta 1899 that the lively and rhythmic accompaniment conveys Christmas joy 13 14 BWV 606 Vom Himmel hoch da komm ich her From Heaven on high I come here nbsp MIDI rendition source source source Problems playing this file See media help nbsp nbsp Three angels early 16C stained glass from GermanyBelow are the first second and last verses of the Christmas hymn Vom Himmel hoch da komm ich her by Martin Luther with the English translation of Catherine Winkworth Vom Himmel hoch da komm ich her ich bring euch gute neue Mar der guten Mar bring ich so viel davon ich singn und sagen will Euch ist ein Kindlein heut geborn Von einer Jungfrau auserkorn Ein Kindelein so zart und fein Das soll eu r Freud und Wonne sein Lob Ehr sei Gott im hochsten Thron Der uns schenkt seinen ein gen Sohn Des freuen sich der Engel Schar Und singen uns solch neues Jahr dd From Heaven above to earth I come To bear good news to every home Glad tidings of great joy I bring Whereof I now will say and sing To you this night is born a child Of Mary chosen mother mild This little child of lowly birth Shall be the joy of all your earth Glory to God in highest Heaven Who unto man His Son hath given While angels sing with pious mirth A glad New Year to all the earth dd nbsp Cantus firmus Vom Himmel hoch da komm ich her Lutheran hymnbook 1539 The melody of Vom Himmel hoch was published in 1539 The hymn was performed throughout the Christmas period particularly during nativity plays Many composers set it to music for both chorus and organ closest to Bach s time Pachelbel and Johann Walther 15 wrote chorale preludes Bach s use of the hymn in his choral works includes the Magnificat BWV 243 and 3 settings in the Christmas Oratorio BWV 248 Apart from BWV 606 his organ settings include the early chorale preludes BWV 701 and 702 from the Kirnberger Collection and BWV 738 from the Neumeister Collection the five Canonic Variations BWV 769 were composed towards the end of his life The chorale prelude BWV 606 is written for single manual and pedal with the cantus firmus in the soprano part As in all his other organ settings Bach changed the rhythmic structure of the melody by drawing out the initial upbeats to long notes This contrasts with Bach s choral settings and the chorale preludes of Pachelbel and Walther which follow the natural rhythm of the hymn In BWV 606 the rhythm is further obscured by the cadences of the second and final lines falling on the third beat of the bar The accompaniment on the keyboard is built from semiquaver motifs made up of four note groups of suspirans semiquavers starting with a rest or breath These include turning figures and ascending or descending scales all presented in the first bar The semiquaver figures sometimes in parallel thirds or sixths run continuously throughout the upper parts including the soprano part further obscuring the melody Below the upper voices there is a striding pedal part in quavers with alternate footing In the two closing bars there is a fleeting appearance of figures usually associated with crucifixion chorales such as Da Jesu an dem Kreuzer stund BWV 621 semiquaver cross motifs 16 in the upper parts above delayed or dragging entries in the pedal The predominant mood of the chorale prelude is one of joyous exultation The semiquaver motifs in constant motion upwards and downwards create what Schweitzer 1905 called a charming maze symbolising angels heralding the birth of Christ As Anton Heiller and others have observed the brief musical allusions to the crucifixion in the closing bars bring together themes from Christmas and Easter a momentary reminder that Christ came into the world to suffer in the words of Clark amp Peterson 1984 Christ s Incarnation and Passion are inseparable and Bach tried to express this through musical means 17 18 19 20 BWV 607 Vom Himmel kam der Engel Schar From Heaven came the host of angels nbsp MIDI rendition source source source Problems playing this file See media help nbsp nbsp Annunciation to the shepherds 15C book of hours MainzBelow are the first and fourth verses of Martin Luther s Christmas hymn Vom Himmel kam der Engel Schar with the English translation of Catherine Winkworth Vom Himmel kam der Engel Schar erschien den Hirten offenbar sie sagten ihn n ein Kindlein zart das liegt dort in der Krippe hart Was kann euch tun die Sund und Tod Ihr habt mit euch den wahren Gott lasst zuernen Teufel und die Holl Gott s Sohn ist worden eu r Gesell dd From heaven the angel troop come near And to the shepherds plain appear A tender little child they cry In a rough manger lies hard by What can death do to you or sin The true God is to you come in Let hell and Satan raging go The Son of God s your comrade now dd nbsp Tenor part of Puer natus in Bethlehem Lossius 1553The cantus firmus of this chorale prelude is in the soprano voice and is drawn from the tenor part of the four part setting of Puer natus by Lossius It is the only time that Bach used this hymn tune Although there is some ambiguity in the autograph manuscript the crossing of parts suggests that the intended scoring is for single manual and pedals The motifs in the intricately crafted accompaniment are descending and ascending scales sometimes in contrary motion with rapid semiquaver scales shared between the inner voices and slower crotchet scales in the walking bass of the pedal part following each phrase of the melody The mood of the chorale prelude is ethereal and scintillating veering elusively between the contemplative harmonised melody and the transitory rushing scales towards the close the scales in the inner voices envelope the melody The semiquaver motifs have been taken to represent flights of angels in the firmament for Spitta 1899 Bach s music rushes down and up again like the descending and ascending messengers of heaven 21 22 BWV 608 In dulci jubilo In sweet joy nbsp MIDI rendition source source source Problems playing this file See media help nbsp nbsp Adoration of the Shepherds Hugo van der GoesBelow is the traditional fourteenth century German Latin Christmas carol In dulci jubilo with the English Latin translation of Robert Lucas de Pearsall In dulci jubilo nun singet und seid froh Unsers Herzens Wonne leit in praesepio und leuchtet als die Sonne matris in gremio Alpha es et O O Jesu parvule nach dir ist mir so weh Trost mir mein Gemute O puer optime durch alle deine Gute O princeps gloriae Trahe me post te O patris caritas o nati lenitas Wir waren all verloren per nostra crimina so hat er uns erworben coelorum gaudia Eia waren wir da Ubi sunt gaudia nirgend mehr denn da da die Engel singen nova cantica und die Schellen klingen in regis curia Eia waren wir da dd In dulci jubilo Let us our homage shew Our heart s joy reclineth In praesepio And like a bright star shineth Matris in gremio Alpha es et O O Jesu parvule My heart is sore for Thee Hear me I beseech Thee O puer optime My praying let it reach Thee O princeps gloriae Trahe me post te O patris caritas O Nati lenitas Deeply were we stained Per nostra crimina But Thou for us hast gained Coelorum gaudia O that we were there Ubi sunt gaudia If that they be not there There are Angels singing Nova cantica And there the bells are ringing In Regis curia O that we were there dd nbsp nbsp The two pages of In dulci jubilo in the autograph manuscript This chorale prelude is based on a traditional Christmas carol in canon that predates Luther Prior to Bach there had been settings of the carol as a canon by Fridolin Sicher and Johann Walther for organ and by Michael Praetorius for choir Bach s chorale prelude is written for single manual and pedals with the leading voice in the soprano The canon normally in the tenor part in the carol is taken up one bar later in the pedal As was Bach s custom it was notated in the autograph manuscript at the pitch at which it should sound although this fell outside the range of baroque pedalboards The desired effect was achieved by using a 4 pedal stop playing the pedals an octave lower The two accompanying inner voices based on a descending triplet motif are also in canon at the octave such a double canon is unique amongst Bach s organ chorales Following baroque convention Bach notated the triplets in the accompaniment as quavers instead of crotchets to make the score more readable for the organist The accompaniment also has repeated crotchets on the single note of A which combined with the A s in the main canon simulate the drone of a musette sounding constantly through the chorale until the A in bar 25 At that point the strict canon in the accompaniment stops but the imitative triplet motif continues until the close also passing effortlessly into the soprano part Over the final pedal point it sounds in all three of the upper voices There is some ambiguity as to whether Bach intended the crotchets in the accompanying motif to be played as a dotted rhythm in time with the triplets or as two beats against three The deliberate difference in spacing in the autograph score and the intended drone like effect might suggest adopting the second solution throughout although modern editions often contain a combination of the two The piping triplets above the musette drone create a gentle pastoral mood in keeping with the subject of the carol For Williams 2003 the constant sounding of A major chords gently embellished by the accompaniment suggest unequivocally the festive spirit of the dulci and jubilo in the title Schweitzer 1905 already described the accompanying triplets as representing a direct and naive joy Williams further suggests that the F major chord at bar 25 might be a reference to leuchtet als die Sonne shines like the sun in the first verse and the long pedal point at the close to Alpha es et Omega You are the Alpha and the Omega at the end of the first verse The mood also reflects the first two lines of the third verse O love of the father O gentleness of the newborn Bach often used canons in his chorale preludes to signify the relation between leader and follower as in his settings of Dies sind die heil gen zehn Gebot These are the Ten Commandments Stinson 1999 considers that this was unlikely to be the case here despite the words Trahe me post te Draw me to thee in the second verse 23 24 BWV 609 Lobt Gott ihr Christen allzugleich Praise God you Christians all together nbsp MIDI rendition source source source Problems playing this file See media help nbsp nbsp Adoration of the Magi Wildungen altarpiece of Konrad von SoestBelow are the first and last verses of Nikolaus Herman s Christmas hymn with the English translation by Arthur Tozer Russell Lobt Gott ihr Christen allzugleich in seinem hochsten Thron der heut schliesst auf sein Himmelreich und schenkt uns seinen Sohn Das aus seinem Stamm entspriessen sollt in dieser letzten Zeit durch welchen Gott aufrichten wollt sein Reich die Christenheit dd Let all together praise our God Upon His lofty throne He hath His heavens unclosed to day And given to us His Son The glorious gates of Paradise The cherub guards no more This day again those gates unfolds With praise our God adore dd The melody first appeared with this text in a 1580 hymnbook Prior to Bach there were choral settings by Michael Praetorius and Samuel Scheidt and a setting for organ in the choral prelude BuxWV 202 by Dieterich Buxtehude Apart from BWV 609 Bach set the hymn in the cantatas BWV 151 and 195 the two harmonisations BWV 375 and 376 and the chorale prelude BWV 732 The chorale prelude BWV 609 is scored for single manual and pedal with the cantus firmus unembellished in the soprano voice The accompaniment in the inner voices is a uniform stream of semiquavers shared between the parts often in parallel sixths but occasionally in contrary motion It is built up from several four note semiquaver motifs first heard in the opening bars Beneath them in the pedal is a contrasting walking bass in quavers with sustained notes at the end of each phrase Unlike the inner voices the pedal part has a wide range there are two scale like passages where it rises dramatically through two octaves covering all the notes from the lowest D to the highest D The four voices together convey a mood of joyous exultation Stinson 1999 speculates that the passages ascending through all the notes of the pedalboard might symbolise the word allzugleich all together and Clark amp Peterson 1984 suggest that the widening intervals at the start between the cantus and the descending pedal part might symbolise the opening up of the heavens schliesst auf sein Himmelreich 25 26 BWV 610 Jesu meine Freude Jesus my joy nbsp MIDI rendition source source source Problems playing this file See media help nbsp nbsp Adoration of the Christ Child early 16C Germany stained glass panelBelow are the first two verses of Johann Frank s hymn Jesu meine Freude with the English translation by Catherine Winkworth Jesu meine Freude meines Herzens Weide Jesu meine Zier ach wie lang ach lange ist dem Herzen bange und verlangt nach dir Gotteslamm mein Brautigam ausser dir soll mir auf Erden nichts sonst Liebers werden Unter deinem Schirmen bin ich vor den Sturmen aller Feinde frei Lass den Satan wittern lass die Welt erschuttern mir steht Jesus bei Ob es jetzt gleich kracht und blitzt obgleich Sund und Holle schrecken Jesus will mich decken dd Jesu priceless treasure Source of purest pleasure Truest Friend to me Ah how long I ve panted And my heart hath fainted Thirsting Lord for Thee Thine I am O spotless Lamb I will suffer nought to hide Thee Nought I ask beside Thee In Thine arm I rest me Foes who would molest me Cannot reach me here Though the earth be shaking Every heart be quaking Jesus calms my fear Sin and hell in conflict fell With their bitter storms assail me Jesus will not fail me dd The melody was first published with the text in Johann Cruger s hymnal Praxis pietatis melica of 1653 In later hymnbooks the hymn became associated with Christmas and Epiphany it was also frequently included amongst the so called Jesuslieder devotional hymns addressed to Jesus often for private use One of the earliest settings of the hymn was Dieterich Buxtehude s cantata BuxWV 60 for four voices strings and continuo composed in the 1680s Bach s friend and colleague Johann Walther composed an organ partita on the hymn in 1712 Apart from BWV 610 Bach s organ settings include the chorale preludes BWV 713 in the Kirnberger Collection BWV 1105 in the Neumeister Collection and BWV 753 composed in 1720 Amongst his choral settings are the harmonisation BWV 358 the motet BWV 227 for unaccompanied choir and cantatas BWV 12 64 81 and 87 The chorale prelude BWV 610 is scored for single manual and pedal with the cantus firmus unadorned in the soprano voice Marked Largo the cantus and accompanying voices in the two inner parts and pedal are written at an unusually low pitch creating a sombre effect The accompaniment is based on semiquaver motifs first heard in their entirety in the pedal in bar one the inner parts often move in parallel thirds followed by quasi ostinato responses in the pedal The rich and complex harmonic structure is partly created by dissonances arising from suspensions and occasional chromaticisms in the densely scored accompanying voices the motifs are skillfully developed but with restraint Both Williams 2003 and Stinson 1999 concur with the assessment of Spitta 1899 that fervent longing sehnsuchtsvoll Innigkeit is marked in every line of the exquisite labyrinth of music in which the master has involved one of his favourite melodies As Honders 1988 has pointed out when composing this chorale prelude Bach might have had in mind one of the alternative more intimate texts for the melody such as Jesu meine Freude wird gebohren heute available in contemporary Weimar hymnbooks and reprinted later in Schemellis Gesangbuch of 1736 27 28 BWV 611 Christum wir sollen loben schon We should indeed praise Christ Choral in Alto nbsp MIDI rendition source source source Problems playing this file See media help nbsp Below is the first verse of Martin Luther s hymn Christum wir sollen loben schon with the English translation of Richard Massie 1854 Luther s text was his version of the Latin hymn A solis ortus cardine part of the fifth century abecedarius of Coelius Sedulius it has been inserted between the two Another extract from Sedulius poem became the Latin Hymn Hostis herodes impie The first verse is given below with Luther s German version Was furchtst du Feind Herodes sehr to the same melody Both verses concern Christ s coming on earth Christum wir sollen loben schon der reinen Magd Marien Sohn soweit die liebe Sonne leucht t und an aller Welt Ende reicht Was furchtst du Feind Herodes sehr dass uns geborn kommt Christ der Herr Er sucht kein sterblich Konigreich der zu uns bringt sein Himmelreich A solis ortus cardine ad usque terrae limitem Christum canamus principem natum Maria virgine Hostis herodes impie Christum venire quid times non eripit mortalia qui regna dat caelestia Now praise we Christ the Holy One The spotless Virgin Mary s Son Far as the blessed sun doth shine E en to the world s remote confine Herod why dreadest thou a foe Because the Christ comes born below He seeks no mortal kingdom thus Who brings His kingdom down to us nbsp Marienalter Albrecht Durer nbsp Plainchant melody for A solis ortus cardine an abecedarius in a late 15th century antiphonary Convent of St Catherine St GallenThe melody of the cantus firmus in the Dorian mode is based on the Latin hymn A solis ortus cardine which appeared in its Lutheran version in 1524 It was used in settings by Scheidt Scheidemann Walther and de Grigny the latter two employing the Latin title Apart from BWV 611 Bach set the hymn earlier in BWV 696 a chorale prelude from the Kirnberger Collection and later in his cantata Christum wir sollen loben schon BWV 121 BWV 611 marked Adagio has several unusual and novel features In contrast to the densely scored chorale prelude BWV 610 the four parts augmented to five by the double pedal in the last two bars are widely spaced employing the full range of the baroque organ Apart from chorale preludes that are canons this is the unique Orgelbuchlein prelude where the cantus firmus is in the middle alto voice Scored for single manual and pedal the accompanying voices are the soprano right hand the tenor left hand and the bass pedal The cantus firmus alto part is in a dotted rhythm shared between the two hands as if hidden The accompanying motif derives from a suspirans figure a four note descending or ascending semiquaver scale starting off the beat this flowing motif is possibly derived from the hymn melody moving as it does in steps albeit much slower The motif is first heard high up in the soprano voice which is placed in bare relief by the sustained notes and slow moving melody in the lower parts In particular the pedal point in the first note of the bass heightens the dramatic effect of the opening by briefly abandoning the usual motivic Orgelbuchlein pattern After the opening the four note motif is extended throughout in the bass part to five notes by preceding it by a dotted quaver the slow tempo facilitates semiquaver scales in the pedal In the sixth bar the soprano and the bass play the highest and lowest notes in the Weimar organ s register the two C s above and below middle C The Bach scholar Hermann Keller has described the resulting musical texture as the most ethereal in the Orgelbuchlein The hidden alto hymn tune occasionally tinged with chromaticism imparts a further sense of mystery Above and below it the scale figures in the three accompanying parts are heard meandering in parallel and sometimes contrary motion In the eleventh bar the bass s motivic accompaniment pauses for a second pedal point after which it resumes by unexpectedly taking up the cantus firmus in canon two beats after and two octaves below the alto until the end of the twelfth bar At the same time in the eleventh bar the soprano and tenor parts play semiquaver motives in canon separated by a quaver and two octaves before playing in more transparent imitation in bars 12 and 13 After the cadence at bar 14 from D minor to A minor the accompaniment is augmented to four voices with a second voice in the pedal first with motivic semiquaver figures in all the parts in the penultimate bar and then imitative dactylic joy motifs in the soprano and tenor parts during the closing bar There is a precursor of the musical style of BWV 611 the plainchant melody A solis ortus cardine Hostis herodes impie accompanied by polyphonic scale motifs in the 1667 Deuxieme Livre d Orgue of Nivers Commentators have suggested how the musical form echos the themes of the hymn the cantus firmus reflecting the mystery of the incarnation Christ hidden in Mary s womb and its chromaticism the purity of the virgin The widely spaced polyphonic texture has been taken as a musical depiction of Sedulius poetic lines A solis ortus cardine ad usque terrae limitem From the hinge of the rising sun To the farthest edge of the earth For Schweitzer 1911a the opening motivic accompaniment entwines the chorale melody in a consummately effective way and embraces a whole world of unutterable joy the adagio is a mystical contemplation and the motifs a joyous exaltation in the soprano BWV 612 Wir Christenleut We Christians nbsp BWV 612 source source MIDI rendition source source source Problems playing these files See media help nbsp nbsp Adoration of the Magi early 16C stained glass from Steinfeld AbbeyBelow are the first and third verses of the hymn of Caspar Fuger with the English translation of Catherine Winkworth first published in 1592 with the melody which predates it Wir Christenleut haben jetzund Freud weil uns zu Trost Christus ist Mensch geboren hat uns erlost Wer sich des trost und glaubet fest soll nicht werden verloren Die Sund macht Leid Christus bringt Freud weil er zu uns in diese Welt ist kommen Mit uns ist Gott in dieser Not Wer ist der jetzt uns Christen kann verdammen dd We Christians may Rejoice to day When Christ was born to comfort and to save us Who thus believes No longer grieves For none are lost who grasp the hope He gave us Sin brought us grief But Christ relief When down to earth He came for our salvation Since God with us Is dwelling thus Who dares to speak the Christian s condemnation dd nbsp Wir Christenleut in the second edition of the Lutheran Hymnbook of Johann Hermann Schein 1645 nbsp Autograph manuscript of BWV 612 with final bars entered at bottom of the page in organ tablature also added on 2 clefs by unknown scribe at end of MS The hymn was previously set as the chorale prelude BWV 710 in the Kirnberger Collection and it also appears as BWV 1090 in the Neumeister Collection The autograph manuscript of Orgelbuchlein contains the original composing score for BWV 612 As with the most of the collection Bach had allotted one page for the chorale prelude Due to lack of space he entered the final two and a half bars in more compact tablature notation The dots indicating the second half could be repeated an unusual feature in Orgelbuchlein first appeared in print in the 1983 Neue Bach Gesellschaft edition of Heinz Harald Lohlein BWV 612 is written for single manual and pedal with four voices The plain cantus firmus is in the soprano part The accompaniment striding quavers in the pedal like an ostinato bass and dance like semiquavers in the inner parts s formed from two short motifs Both motifs are related as can be seen when they are first heard together in the alto and bass parts in the last two beats of bar 1 and first beats of bar 2 separated by an octave plus a third the bass motif a rest followed by six notes can be seen as a simplified form of the alto motif a rest followed by two five note figures At the same time the motif in the inner parts is derived from descending scale D C B flat A that recurs in the cantus Both accompanying motifs serve to propel the chorale prelude forwards the bass line having a similar function to that in the last movement of the fourth Brandenburg concerto Although the cantus itself repeats more of its lines than most Lutheran hymns Bach avoids repetitiveness in the chorale prelude by varying the harmonies and rhythmic texture in the accompaniment for each phrase In addition what sounds like an interlude for alto and tenor during a two and a half bar rest in the pedal part creates further variety The resolute striding bass has been seen by Schweitzer 1911b as representing firmness in faith a reference to the last two lines of the first verse Wer sich des trost und glaubet fest soll nicht werden verloren whosoever trusts in Him and firmly believes shall not be lost The same type of bass line was used much later by Bach in the chorale prelude Wir glauben all an einen Gott BWV 664 in Clavier Ubung III 29 New Year BWV 613 615 edit BWV 613 Helft mir Gotts Gute preisen Help me to praise God s goodness nbsp MIDI rendition source source source Problems playing this file See media help nbsp nbsp Hymn in adoration of the lamb from Durer s ApocalypseBelow is the first verse of this New Year s hymn of Paul Eber with the English translation by John Christian Jacobi Helft mir Gott s Gute preisen ihr lieben Kinderlein mit G sang und andrer Weisen ihm allzeit dankbar sein vornehmlich zu der Zeit da sich das Jahr tut enden die Sonn sich zu uns wenden das Neujahr ist nicht weit dd Come let us All with Fervour On whom Heaven s Mercies shine To our Supreme Preserver In tuneful Praises join Another Year is gone Of which the tender Mercies Each pious Heart rehearses Demand a grateful Song dd BWV 614 Das alte Jahr vergangen ist The old year has passed a 2 Clav et Ped nbsp MIDI rendition source source source Problems playing this file See media help nbsp nbsp Albrecht Durer St JeromeBelow are the six verses of this New Year s hymn with the English translation of Catherine Winkworth Das alte Jahr vergangen ist wir danken dir Herr Jesu Christ dass du uns hast in aller G fahr so gnadiglich behut t dies Jahr Wir bitten dich ewigen Sohn Des Vaters in dem hochsten Thron Du woll st dein arme Christenheit Ferner bewahren allezeit Entzeuch uns nicht dein heilsam Wort welch s ist der Seelen Trost und Hort vor s Papsts Lehr und Abgotterei bewahr uns Herr und steh uns bei Hilf dass wir von der Sand ablan Und fromm zu werden fahen an Kein r Sund im alten Jahr gedenk Ein gnadenreich neu Jahr uns schenk Christlich zu leben seliglich Zu sterben und hernach frohlich Am Jungsten Tag wied r aufzustehn Mit dir in Himmel einzugehn Zu danken und zu loben dich Mit allen Engeln ewiglich O Jesu unsern Glauben mehr Zu deines Namens Lob und Ehr dd The old year now hath passed away We thank Thee O our God today That Thou hast kept us through the year When danger and distress were near We pray Thee O Eternal Son Who with the Father reign st as One To guard and rule Thy Christendom Through all the ages yet to come Take not Thy saving Word away Our souls true comfort and their stay Abide with us and keep us free From errors following only Thee O help us to forsake all sin A new and holier course begin Mark not what once was done amiss A happier better year be this Wherein as Christians we may live Or die in peace that Thou canst give To rise again when Thou shalt come And enter Thine eternal home There shall we thank Thee and adore With all the angels evermore Lord Jesus Christ increase our faith To praise Thy name through life and death dd nbsp Das alte Jahr vergangen ist in the Neu Leipziger Gesangbuch of Gottfried Vopelius 1682 The hymn tune is on the first line of the first page and the first three lines of the second nbsp Autograph manuscript of Das alte Jahre vergangen ist BWV 614Customarily sung on New Year s Day the hymn addresses thanks for the past year and prayers for the coming year to Christ Although primarily a supplication looking forwards to the future the hymn also looks back at the past reflecting on the perils facing man his sins and his transitory existence The version of the hymn that Bach used for BWV 614 only emerged gradually The first two verses of the hymn text were first published in Clemens Stephani s Nuremberg hymnbook of 1568 the entire six verses of the text appeared in Johann Steuerlein s Erfurt hymnbook of 1588 An early version of the melody also appeared in Steuerlein s hymnbook but set to different words Gott Vater der du deine Sonn That melody first appeared with the text in Erhard Bodenschatz s Leipzig hymnbook of 1608 One of the earliest known sources for the version of the hymn used by Bach is Gottfried Vopelius s Leipzig hymnbook of 1682 Prior to modern scientific methods for dating Bach s autograph manuscripts scholars had relied on identifying hymnbooks available to him to determine exactly when Orgelbuchlein was written Terry 1921 erroneously assigned a date after 1715 because the earliest source for Das alte Jahr he had been able to locate was Christian Friedrich Witt s Gotha hymnbook first published in 1715 As is now known Bach set Das alte Jahr early in his career as BWV 1091 one of the chorale preludes in the Neumeister Collection he also composed two four part harmonisations BWV 288 and 289 30 31 32 33 The chorale prelude BWV 614 is written for two manuals and pedal with the cantus firmus in the soprano voice Despite starting starkly with two repeated crotchets unaccompanied and unembellished in the cantus BWV 614 is an ornamental chorale prelude the highly expressive melodic line although restrained includes elaborate ornamentation coloratura melismas reminiscent of Bach s Arnstadt chorale preludes and sighing falling notes which at the close completely subsume the melody as they rise and fall in the final cadence The accompaniment is built from the motif of a rising chromatic fourth heard first in the response to the first two notes of the cantus The motif is in turn linked to the melodic line which later on in bar 5 is decorated with a rising chromatic fourth Bach ingeniously develops the accompaniment using the motif in canon inversion and semiquaver stretto The three lower voices respond to each other and to the melodic line with the soprano and alto voices sighing in parallel sixths at the close The chromatic fourth was a common form of the baroque passus duriusculus mentioned in the seventeenth century musical treatise of Christoph Bernhard a student of Heinrich Schutz The chromaticism creates ambiguities of key throughout the chorale prelude The original hymn melody is in the aeolian mode of A the natural form of A minor modulating to E major in the final cadence Renwick 2006 analyses the mysteries of the key structure in BWV 614 In addition to giving a detailed Schenkerian analysis he notes that the cadences pass between D minor and A until the final cadence to E major that the modal structure moves between the Dorian mode on D and the Phrygian mode on E through the intermediary of their common reciting note A and that the key changes are mediated by the chromatic fourths in the accompaniment 30 31 34 35 Since the nineteenth century successive commentators have found the mood of the chorale prelude to be predominantly sad despite that not being in keeping with the hymn text The chromatic fourth has been interpreted as a grief motif It has been described as melancholic by Schweitzer 1905 as having the greatest intensity by Spitta 1899 as a prayer with anxiety for the future by Ernst Arfken and as a crossroads between the past and the future by Jacques Chailley Williams 2003 suggests that the grieving mood might possibly reflect tragic events in Bach s life at the time of composition indeed in 1713 his first wife gave birth to twins who died within a month of being born Renwick 2006 takes a different approach suggesting that Bach s choice of tonal structure leads the listener to expect the E s that end the chorale prelude to be answered by A s the notes that start it To Renwick such cyclicity reflects the themes of the hymn a turning point a Janus like reflection backward and forward regret for the past and hope for the future the place between before and after 30 31 34 BWV 615 In dir ist Freude In you is joy nbsp MIDI rendition source source source Problems playing this file See media help nbsp nbsp St Christopher with the Christ Child early 15C Book of Hours GhentBelow is the first verse of the hymn In dir ist Freude with the English translation by Catherine Winkworth In dir ist Freude in allem Leide o du susser Jesu Christ Durch dich wir haben himmlische Gaben du der wahre Heiland bist hilfest von Schanden rettest von Banden Wer dir vertrauet hat wohl gebauet wird ewig bleiben Halleluja Zu deiner Gute steht unser G mute an dir wir kleben im Tod und Leben nichts kann uns scheiden Halleluja dd In Thee is gladness Amid all sadness Jesus Sunshine of my heart By Thee are given The gifts of heaven Thou the true Redeemer art Our souls Thou wakest Our bonds Thou breakest Who trusts Thee surely Hath built securely He stands for ever Hallelujah Our hearts are pining To see Thy shining Dying or living To Thee are cleaving Nought can us sever Hallelujah dd The church musician Johann Lindemann published the text in 1598 and Giovanni Giacomo Gastoldi supplied the melody in 1591 36 Candlemas BWV 616 617 edit BWV 616 Mit Fried und Freud ich fahr dahin With peace and joy I depart nbsp MIDI rendition source source source Problems playing this file See media help nbsp nbsp Feast of the Purification early 16C stained glass from Mariawald Abbey near CologneBelow is the first verse of Martin Luther s version of the Nunc dimittis Mit Fried und Freud ich fahr dahin a text associated with the Epiphany tide feast of the Presentation in the Temple together with an English translation by Catherine Winkworth Mit Fried und Freud ich fahr dahin in Gottes Willen getrost ist mir mein Herz und Sinn sanft und stille wie Gott mir verheissen hat er Tod ist mein Schlaf worden dd In peace and joy I now depart According to God s will For full of comfort is my heart So calm and sweet and still So doth God His promise keep And death to me is but a sleep dd BWV 617 Herr Gott nun schleuss den Himmel auf Lord God now unlock Heaven nbsp MIDI rendition source source source Problems playing this file See media help nbsp nbsp Hugo van der Goes Death of the VirginBelow are the first and last verses of Tobias Kiel s hymn which references the Song of Simeon a biblical text associated with the Epiphany tide feast of the Presentation in the Temple The English translation is by Catherine Winkworth Herr Gott nun schleuss den Himmel auf mein Zeit zu End sich neiget ich hab vollendet meinen Lauf des sich mein Seel freuet hab g nug gelitten mich mud gestritten schick mich fein zu zur ewig n Ruh lass fahren was auf Erden will lieber selig werden Lass mich nur Herr wie Simeon im Friede zu dir fahren Befiehl mich Christo deinem Sohn der wir mich wohl bewahren wird mich recht fuhren im Himmel zieren mit Ehr und Kron fahr drauf davon lass fahren was auf Erden will lieber selig werden dd Lord God now open wide Thy heaven My parting hour is near My course is run enough I ve striven Enough I ve suffered here Weary and sad My heart is glad That she may layher down to rest dd dd Now all on earth I can resign But only let Thy heaven be mine Then let me go like Simeon In peace with Thee to dwell For I commend me to Thy Son And He will guard me well And guide me straight To the golden gate And in this hopeI calmly die dd dd Yes all on earth I can resign If but Thy heaven may now be mine dd Lent BWV 618 624 edit BWV 618 O Lamm Gottes unschuldig Oh innocent Lamb of God Canon alla Quinta nbsp MIDI rendition source source source Problems playing this file See media help nbsp nbsp Lamb of God 14C altar painting from PragueBelow is the first verse and refrain of the third verse of this version of the Agnus Dei O Lamm Gottes unschuldig with the English translation of Catherine Winkworth O Lamm Gottes unschuldig am Stamm des Kreuzes geschlachtet allzeit funden geduldig wiewohl du warest verachtet all Sund hast du getragen sonst mussten wir verzagen Erbarm dich unser O Jesu Gieb uns dein Frieden o Jesu dd O Lamb of God most stainless Who on the Cross didst languish Patient through all Thy sorrows Though mocked amid Thine anguish Our sins Thou bearest for us Else had despair reigned o er us Have mercy upon us O Jesu Grant us Thy peace today O Jesu dd BWV 619 Christe du Lamm Gottes Christ Lamb of God in Canone alla Duodecime a 2 Clav et Ped nbsp MIDI rendition source source source Problems playing this file See media help nbsp nbsp St John the Baptist with the Lamb of God late 15C German stained glass roundelBelow is the first verse and refrain of the third verse of Christe du Lamm Gottes a German version of the Agnus Dei with the English translation of Charles Sanford Terry Christe du Lamm Gottes der du tragst die Sund der Welt erbarm dich unser gib uns dein n Frieden dd Christ Thou Lamb of God Thou that bear st the sins of men Have mercy on us Grant to us Thy peace dd BWV 620 Christus der uns selig macht Christ who makes us blessed in Canone all Ottava nbsp MIDI rendition source source source Problems playing this file See media help nbsp nbsp Ecce Homo mid 16th century stained glass panel from GermanyThis setting of the Lutheran hymn Christus der uns selig macht features the chorale in canon between the highest voice in the manuals and the pedal part The original manuscript features passages in tablature notation which has led to inaccurate readings in some published editions 37 Below is the text of the first and last verse of the Passiontide hymn with the English translation of John Christian Jacobi Christus der uns selig macht kein Bos hat gegangen war fur uns zur Mitternacht als ein dieb gefangen gefuhrt vor Gottlose Leut und falschlich verklaget verlacht verhohnt under verspeit wie den Schrift saget O hilf Christe Gottes Sohn durch dein bitter Leiden dass wir dir stets untertan Sund und Unrecht meiden deinen Tod und sein Ursach fruchtbar nun bedenken dafur wiewohl arm und schwach dir Dankopfer schenken dd Christ by Whose all saving Light Mankind benefited Was for Sinners in the Night As a Thief committed Dragged before a wicked Court Of the Jewish Clergy Where they tried their worst Effort Gainst the Lord of Mercy Grant O Jesu blessed Lord By Thy Cross and Passion Thy blest Love may be adored By the whole Creation Hating Sin the woful Cause Of Thy Death and Suffering Give our Heart to obey Thy Laws As the best Thanks offering dd BWV 621 Da Jesus an dem Kreuze stund As Jesus hung upon the Cross nbsp BWV 621 source source MIDI rendition source source source Problems playing these files See media help nbsp nbsp The Crucifixion early 16C stained glassBelow is the text by Johann Boschenstein 1472 1540 of the first and last verses of this Passiontide hymn Da Jesus an dem Kreuze stund with the English translation from the Moravian Hymn Book 1746 Usually sung on Good Friday the hymn has as its theme the Seven Last Words from the Cross each of the seven intervening verses meditating on a different Word Da Jesus an dem Kreuze stund und ihm sein Leib war ganz verwund t mit bitterlichen Schmerzen die sieben Wort die er da sprach betracht in deinem Herzen Wer Gottes Mart r in Ehren hat und oft gedenckt der sieben Wort des will Gott eben pflegen wohl hier auf Erd n mit seinem Gnad und dort im ewigen Leben dd When Jesus on the Cross was found His Body pierced with many a Wound With Torture very bitter The dying Words which He then spake With a still Heart consider He who God s Pains in Honour has To whom our Saviour gives the Grace To be in Heart possessing And weigh these seven Gospel Words Enjoys a noble Blessing dd nbsp Hymn in the 1650 Gorlitzer Tabulaturbuch of Samuel Scheidt with cantus in soprano clefThe hymn melody is in the phrygian mode and dates back to the Reformation In the generation prior to Bach organ settings had mainly been made by composers in Southern Germany like Kindermann Pachelbel and Fischer Unlike most of the other chorale preludes in the Orgelbuchlein Bach did not use the chorale in any of his cantatas BWV 621 is his unique setting of the hymn BWV 621 is scored for single manual and pedal with the cantus firmus in the soprano voice almost entirely in plain crotchets The accompaniment below the cantus creates an unusually dense texture There are three accompanying voices often closely scored the alto and tenor voices in the keyboard between them weave a continuous and complex pattern of rising and falling semiquavers sometimes in parallel thirds and below them the bass voice in the pedal moves in steady quavers and syncopated crotchets The accompaniment in each lower voice is constructed from its own separate motifs each having its own characteristic rhythm Although the longer figures in the two lowest voices are heard several times throughout the piece Bach s ingenious writing gives no sense of artifice or mechanical repetition In addition as Williams 2003 notes the outer and inner voices are naturally paired the pedal with or in opposition to the cantus and the alto voice with the tenor The pedal starts off with a cross motif in quavers which recurs throughout the composition 16 The cross motifs are followed by suspended crochets falling in steps These create constant dissonances with the cantus which are resolved only by the cadence at the close The syncopated crotchets in the pedal also interrupt the fermatas at the end of each cantus line giving a further sense of restlessness The alto part is characterised by falling anapaests while the tenor line is made up of two parts the first a rising semiquaver figure and the second shorter semiquaver cross motifs descending in sequence As the piece progresses the motifs become more concentrated with the alto taking up some of the tenor motifs towards the close These novel features mark a departure from the more standard settings of the hymn by Bach s predecessors such as Fischer which conform more closely to the stile antico Many commentators have interpreted the compositional form and motifs of BWV 621 in terms of the themes of the Passiontide hymn primarily concerned with the crucifixion Spitta 1899 wrote that Christ s hanging on the cross is represented by the heavy syncopated notes and takes this as evidence of a wonderfully true aesthetic feeling in Bach since that enforced quietude of direst anguish was no real calm Similarly for Schweitzer 1911b the pedal line symbolises the drooping of the exhausted body of Jesus on the cross Stinson 1999 describes the dissonant suspensions as fitting for the tragic subject matter For Williams 2003 the syncopated bass line is a masterful way of evoking the dragging of the cross Similar motifs and handling of voices occur at the close of Von Himmel hoch da komm ich her BWV 606 although that Christmas hymn primarily concerns the incarnation of Christ later parts of the text foreshadow the crucifixion 38 39 BWV 622 O Mensch bewein dein Sunde gross Oh Man bewail your great sins a 2 Clav et Ped nbsp MIDI rendition source source source Problems playing this file See media help nbsp Below is the text of the first stanza of the hymn O Mensch bewein dein Sunde gross by Sebald Heyden with the English translation of Catherine Winkworth O Mensch bewein dein Sunde gross darum Christus seins Vaters Schoss verliess und kam auf Erden Von einer Jungfrau rein und zart fur uns er hier geboren war er wollt der Mittler werden Den Toten er das Leben gab und legt dabei all Krankheit ab Bis sich die Zeit herdrange dass er fur uns geopfert wurd trug unser Sund ein schwere Burd wohl an dem Kreuze lange dd O man thy grievous sin bemoan For which Christ left His Father s throne From highest heaven descending Of Virgin pure and undefiled He here was born our Saviour mild For sin to make atonement The dead He raised to life again The sick He freed from grief and pain Until the time appointed That He for us should give His Blood Should bear our sins o erwhelming load The shameful Cross enduring dd nbsp Autograph score of BWV 622 O Mensch bewein dein Sunde gross nbsp Twelve scenes from the life of Christ 15C painting from Cologne O Mensch is one of the most celebrated of Bach s chorale preludes The cantus firmus composed in 1525 by Matthias Greitter and associated with Whitsuntide was also later used with the same words for the closing chorale of the first part of the St Matthew Passion taken from the 1725 version of the St John Passion Bach ornamented the simple melody in twelve phrases reflecting the twelve lines of the opening verse with an elaborate coloratura It recalls but also goes beyond the ornamental chorale preludes of Buxtehude The ornamentation although employing conventional musical figures is highly original and inventive While the melody in the upper voice is hidden by coloratura over a wide range the two inner voices are simple and imitative above the continuo style bass Bach varies the texture and colouring of the accompaniment for each line of what is one of the longest melodies in the collection nbsp In the penultimate line accompanying the words ein schwere Burd a heavy burden the inner parts intensify moving in semiquavers 16th notes with the upper voice to a climax on the highest note in the prelude The closing phrase with its mounting chromatic bass accompanying bare unadorned crotchets quarter notes in the melody to end in an unexpected modulation to C major recall but again go beyond earlier compositions of Pachelbel Frohberger and Buxtehude It has been taken by some commentators as a musical allusion to the words kreuze lange in the text for Spitta the passage was full of imagination and powerful feeling As Williams 2003 comments however the inner voices with their astonishing accented passing notes transcend images as does the sudden simplicity of the melody when the bass twice rises chromatically BWV 623 Wir danken dir Herr Jesu Christ We give thanks to you Lord Jesus Christ nbsp MIDI rendition source source source Problems playing this file See media help nbsp nbsp Man of Sorrows early 16C stained glass from Steinfeld AbbeyBelow is the German text of the 1568 Lutheran hymn by the Bohemian theologian Christoph Fischer with the English translation of Benjamin Hall Kennedy Wir danken dir Herr Jesu Christ dass du fur uns gestorben bist und hast uns durch dein teures Blut gemacht vor Gott gerecht und gut Und bitten dich wahr r Mensch und Gott durch dein heilig funf Wunden rot erlos uns von dem ew gen Tod und trost uns in der letzten Not Nehut uns auch vor Sund und Schand reich uns dein allmachtige Hand dass wir im Kreuz geduldig sei n uns trosten deiner schweren Pein Und draus schopfen die Zuversicht dass du uns werd st verlassen nicht sondern ganz treulich bei uns stehn bis wir durchs Kreuz ins Leben gehn dd We bless Thee Jesus Christ our Lord For ever be Thy name adored For Thou the sinless One hast died That sinners might be justified O very Man and very God Redeem us with Thy precious blood From death eternal set us free And make us one with God in Thee From sin and shame defend us still And work in us Thy stedfast will The Cross with patience to sustain And bravely bear its utmost pain In Thee we trust in Thee alone For Thou forsakest not Thine own To all the meek Thy strength is given Who by Thy Cross ascend to heaven dd BWV 624 Hilf Gott dass mir s gelinge Help me God that I may succeed a 2 Clav et Ped nbsp MIDI rendition source source source Problems playing this file See media help nbsp nbsp The Transfiguration early 16C stained glass from Mariawald Abbey near CologneBelow is the text of the hymn from the Ballad of the Passion 1527 by Heinrich Muller 40 with a 16th century translation from The Gude and Godlie Ballatis Hilf Gott dass mirs gelinge du edler Schopfer mein die Silben reimweis zwinge Lob und Ehren dein dass ich mag frohlich heben an von deinem Wort zu singen Herr du wollst mir beistan Help God the formar of all thing That to Thy gloir may be my dyte Be baith at end and beginning That I may mak ane sang perfyte Of Jesus Christis Passioun Sinnaris onlie Saluatioun As witnes is Thy word in write Easter BWV 625 630 edit BWV 625 Christ lag in Todesbanden Christ lay in the bonds of death nbsp MIDI rendition source source source Problems playing this file See media help nbsp nbsp Entombment of Christ early 16C painting from CologneBelow are the first and fourth verses of Martin Luther s Easter hymn Christ lag in Todesbanden with the English translation of Paul England 41 Christ lag in Todesbanden fur unsre Sund gegeben der ist wieder erstanden und hat uns bracht das Leben des wir sollen frohlich sein Gott loben und dankbar sein und singen Halleluja Halleluja Es war ein wunderlicher Krieg da Tod und Leben rungen das Leben das behielt den Sieg es hat den Tod verschlungen Die Schrift hat verkundet das wie ein Tod den andern frass ein Spott der Tod ist worden Halleluja dd Christ lay in Death s dark prison It was our sin that bound Him This day hath He arisen And sheds new life around Him Therefore let us joyful be And praise our God right heartily So sing we Hallelujah Hallelujah How fierce and dreadful was the strife When Life with Death contended For Death was swallowed up by Life And all his power was ended God of old the Scriptures show Did promise that it should be so O Death where s now thy victory Hallelujah dd BWV 625 is based on the hymn tune of Luther s Christ lag in Todesbanden The sharp on the second note was a more modern departure already adopted by the composer organists Bruhns Bohm and Scheidt and by Bach himself in his early cantata Christ lag in Todes Banden BWV 4 42 The chorale prelude is in four parts for single manual and pedals with the cantus firmus in the soprano voice It closely follows the four voices of Bach s earlier harmonisation in the four part chorale BWV 278 with virtually no changes in the cantus firmus 43 The two accompanying inner parts and pedal are elaborated by a single motif of four or eight semiquavers descending in steps It is derived from the final descending notes of the melody nbsp dd dd The semiquaver motif runs continuously throughout the piece passing from one lower voice to another Commentators have given different interpretations of what the motif might symbolise for Schweitzer 1905 it was the bonds of death Todesbanden and for Hermann Keller the rolling away of the stone Some have also seen the suspensions between bars as representing the bonds of death These interpretations can depend on the presumed tempo of the chorale prelude A very slow tempo was adopted by the school of late nineteenth and early twentieth century French organists such as Guilmant and Dupre for them the mood of the chorale prelude was quiet inward looking and mournful Dupre even saw in the descending semiquavers the descent by the holy women step by step to the tomb At a faster tempo as has become more common the mood becomes more exultant and vigorous with a climax at the words Gott loben und dankbar sein praise our God right heartily where the music becomes increasingly chromatic Williams 2003 suggests that the motif might then resemble the Gewalt power motif in the cello part of BWV 4 verse 3 and that the turmoil created by the rapidly changing harmonies in some bars might echo the word Krieg war in verse 4 44 45 BWV 626 Jesus Christus unser Heiland der den Tod uberwand Jesus Christ our Saviour who conquered death nbsp MIDI rendition source source source Problems playing this file See media help nbsp nbsp Resurrection Wildungen Altarpiece Konrad von SoestBelow is the first verse of Martin Luther s Easter hymn Jesus Christus unser Heiland der den Tod uberwand with the English translation by George MacDonald Jesus Christus unser Heiland der den Tod uberwand ist auferstanden die Sund hat er gefangen Kyrie eleison dd Jesus Christ our Saviour true He who Death overthrew Is up arisen And sin hath put in prison Kyrieleison dd BWV 627 Christ ist erstanden Christ is risen nbsp MIDI rendition source source source Problems playing this file See media help nbsp nbsp nbsp nbsp Resurrection Albrecht AltdorferBelow is the text of the three verses of the Easter hymn Christ ist erstanden with the English translation of Myles Coverdale Christ ist erstanden Von der Marter alle Des solln wir alle froh sein Christ will unser Trost sein Kyrieleis War er nicht erstanden So war die Welt vergangen Seit dass er erstanden ist So lobn wir den Vater Jesu Christ Kyrieleis Halleluja Halleluja Halleluja Des solln wir alle froh sein Christ will unser Trost sein Kyrieleis dd Christe is now rysen agayne From His death and all His payne Therfore wyll we mery be And rejoyse with Him gladly Kirieleyson Had He not rysen agayne We had ben lost this is playne But sen He is rysen in dede Let us love Hym all with spede Kirieleyson Now is tyme of gladnesse To synge of the Lorde s goodnesse Therfore glad now wyll we be And rejoyse in Hym onely Kirieleyson dd BWV 628 Erstanden ist der heil ge Christ The holy Christ is risen nbsp MIDI rendition source source source Problems playing this file See media help nbsp nbsp Resurrection Isenheim Altarpiece Matthias GrunewaldBelow is the traditional Easter carol Surrexit Christus hodie in German and English translations Erstanden ist der heilge Christ alleluia der aller Welt ein Troster ist alleluia Und war er nicht erstanden alleluia so war die Welt vergangen alleluia dd Christ our Lord is Risen to day Hallelujah Christ our Life our Light our Way Hallelujah The Object of our Love and Faith Hallelujah Who but died to conquer Death Hallelujah dd BWV 629 Erschienen ist der herrliche Tag The glorious day has come a 2 Clav et Ped nbsp MIDI rendition source source source Problems playing this file See media help nbsp nbsp Christ with angels early 16C stained glass from Steinfeld AbbeyBelow is the first verse of Nikolaus Herman s hymn Erschienen ist der herrlich Tag with the English translation of Arthur Russell Erschienen ist der herrlich Tag dran sich niemand gnug freuen mag Christ unser Herr heut triumphiert all seine Feind er gefangen fuhrt Halleluja dd The day hath dawned the day of days Transcending all our joy and praise This day our Lord triumphant rose This day He captive led our foes Hallelujah dd BWV 630 Heut triumphieret Gottes Sohn Today the Son of God triumphs nbsp MIDI rendition source source source Problems playing this file See media help nbsp nbsp Last Judgement Eichstatt early 16C stained glass designed by Hans HolbeinBelow is the first verse of Caspar Stolshagen s Easter hymn Heut triumphieret Gottes Sohn by Bartholomaus Gesius with the English translation of George Ratcliffe Woodward Heut triumphieret Gottes Sohn der von dem Tod erstanden schon Halleluja Halleluja mit grosser Pracht und Herrlichkeit des dankn wir ihm in Ewigkeit Halleluja Halleluja dd Today God s only gotten Son Arose from death and triumph won Alleluya Alleluya In mighty pomp and rich array His therefore be the praise alway Alleluya Alleluya dd Pentecost BWV 631 634 edit BWV 631 Komm Gott Schopfer Heiliger Geist Come God Creator Holy Ghost nbsp MIDI rendition source source source Problems playing this file See media help nbsp nbsp Pentecost early 17C stained glass from Wettingen Abbey in SwitzerlandBelow are the first and last verses of Martin Luther s hymn for Pentecost Komm Gott Schopfer Heiliger Geist with the English translation of George MacDonald Komm Gott Schopfer Heiliger Geist besuch das Herz der Menschen dein mit Gnaden sie full wie du weisst dass dein Geschopf vorhin sein Gott Vater sei Lob und dem Sohn der von den Todten auferstund dem Troster sei dasselb gethan in Ewigkeit alle Stund dd Come God Creator Holy Ghost Visit the heart of all Thy men Fill them with grace the way Thou know st What Thine was make it again Praise God the Father and the Son Who from the dead arose in power Like praise to the Consoling One Evermore and every hour dd BWV 632 Herr Jesu Christ dich zu uns wend Lord Jesus Christ turn to us nbsp BWV 632 source source MIDI rendition source source source Problems playing these files See media help nbsp Pentecost Wildunger Altarpiece Konrad von Soest nbsp Below are the first and third verses of the Lutheran hymn Herr Jesu Christ dich zu uns wend by Wilhelm Duke of Saxe Weimar 1648 with the English translation of John Christian Jacobi Throughout Thuringia and Saxony this became the hymn that the congregation sang as the priest entered the pulpit before delivering his Sunday sermon Herr Jesu Christ dich zu uns wend dein n Heil gen Geist du zu uns send mit Lieb und Gnad Herr uns regier und uns den Weg zu Wahrheit fuhr Bis wir singen mit Gottes Heer heilig heilig ist Got der Herr und schauen dich von Angesicht in ew ger Freud und sel gem Licht dd Lord Christ reveal Thy holy face And send the Spirit of Thy grace To fill our hearts with fervent zeal To learn Thy truth and do Thy will Till we with angels join to sing Eternal praise to Thee our King Till we behold Thy face most bright In joy and everlasting light dd nbsp Hymn in 1691 Wurttemberg hymnal with soprano clefAlthough with its references to the Holy Spirit the hymn has relevance to Pentecost its customary use in Sunday services almost certainly prompted Bach to compose several settings BWV 622 BWV 655 BWV 709 BWV 726 and BWV 749 Johann Gottfried Walther Bach s distant cousin and the organist in the Stadtkirche in Weimar also set the hymn as a chorale prelude and as a partita with many variations BWV 632 is written for single keyboard and pedal with the cantus firmus in the soprano part it starts with a characteristic triad at first concealed by the intermediate notes of the legato dotted rhythm The same suspirans triad motif like a broken chord or arpeggio forms the basis of the accompaniment in the two inner voices the imitative responses between the parts providing a steady flow of semiquaver figures rising and falling melifluous and sweet More than a simple accompaniment the push the harmonies forward revealing it unexpectedly at every turn Below them the pedal bass provides a distinctive accompaniment in quavers and crotchets starting off with a quaver triad Although largely moving in steps like a walking bass the pedal plays a type of canon two octaves below the cantus The canon is itself disguised in crotchets in the first half with the same rhythm as the soprano but in the second half it is heard in fragmentary form at double the speed in quavers The accompanying arpeggio motifs in the inner parts are not dissimilar to figurations in settings of the hymn by Georg Bohm and Walther the 6th variation in his partita But the light and airy texture of the keyboard writing has more in common with the harpsichord allemande such as BuxWV 238 1 below from the thirteenth keyboard suite of Dieterich Buxtehude the introductory upbeat the repeats of binary dance form and the arpeggiated accompaniment at the cadences nbsp The reprise of the second part differs from the hymn as it appears in hymnbooks but the stream of repeated triadic motifs which Schweitzer 1911a interpreted as constant repetitions of Herr Jesu Christ add to the mood of supplication in the chorale prelude Hermann Keller has suggested that Bach might have employed the canon as musical iconography for the plea to be led at the end of the first verse und uns den Weg zu Wahrheit fuhr and lead us on the path of truth 46 47 BWV 633 Liebster Jesu wir sind hier distinctius Dearest Jesus we are here in Canone alla Quinta a 2 Clav et Ped nbsp MIDI rendition source source source Problems playing this file See media help nbsp BWV 634 Liebster Jesu wir sind hier Dearest Jesus we are here in Canone alla Quinta a 2 Clav et Ped nbsp MIDI rendition source source source Problems playing this file See media help nbsp nbsp Supper at Emmaus early 16C German stained glassBelow is the first verse of Tobias Clausnitzer s Lutheran hymn Liebster Jesu wir sind hier with the English translation of Catherine Winkworth Liebster Jesu wir sind hier dich und dein Wort anzuhoren lenke Sinnen und Begier auf die sussen Himmelslehren dass die Herzen von der Erden ganz zu dir gezogen werden dd Blessed Jesu at Thy word We are gathered all to hear Thee Let our hearts and souls be stirred Now to seek and love and fear Thee By Thy teachings sweet and holy Draw from earth to love Thee solely dd Catechism hymns BWV 635 638 edit BWV 635 Dies sind die heil gen zehn Gebot These are the ten commandments nbsp MIDI rendering source source source Problems playing this file See media help nbsp nbsp Albrecht Durer Moses receiving the Ten Commandments stained glass panel Jakobskirche StraubingBelow are the first and last two verses of the Lutheran catechism hymn Dies sind die heil gen zehn Gebot the Ten Commandments with an English translation by George MacDonald Dies sind die heil gen Zehn Gebot die uns gab unser Herre Gott durch Moses seinen Diener treu hoch auf dem Berg Sinai Kyrieleis Die Gebot all uns geben sind dass du dein Sund o Menschenkind erkennen sollst und lernen wohl wie man vor Gott leben soll Kyrieleis Das helf uns der Herr Jesus Christ der unser Mittler worden ist es ist mit unserm Tun verlor n verdienen doch eitel Zorn Kyrieleis dd These are the holy ten commands Which came to us from God s own hands By Moses who obeyed His will On the top of Sinai s hill Kyrioleis To us come these commands that so Thou son of man thy sins mayst know And with this lesson thy heart fill That man must live for God s will Kyrioleis May Christ our Lord help us in this For He our mediator is Our own work is a hopeless thing Wrath alone all it can bring Kyrioleis dd nbsp The Ten Commandments in the 1524 hymnbook of Luther and WalterThe Lutheran Erfurter Enchiridion of 1524 contains the text with the melody which was also used for In Gottes Nahmen fahren wir a pilgrims hymn Bach wrote a four part chorale on the hymn tune in BWV 298 he used it for the trumpet canon in the opening chorus of cantata BWV 77 and much later he set it for organ in the first two of the catechism chorale preludes BWV 678 and 679 of Clavier Ubung III The chorale prelude BWV 635 is in the mixolydian mode with the cantus firmus in the soprano voice in simple minims The accompaniment in the three lower voices is built up from two motifs each containing the repeated notes that characterise the theme The first motif in quavers is a contracted version of the first line of the cantus GGGGGGABC first heard in the pedal bass in bars 1 and 2 It also occurs in inverted form This emphatic hammering motif is passed imitatively between the lower voices as a form of canon The second motif first heard in the alto part in bars 2 and 3 is made up of five groups of 4 semiquavers individual groups being related by inversion first and fifth and reflection second and third The pivotal notes CCCDEF in this motif are also derived from the theme The second motif is passed from voice to voice in the accompaniment there are two passages where it is adapted to the pedal with widely spaced semiquavers alternating between the feet providing an unbroken stream of semiquavers complementing the first motif The combined affekt of the four parts with 25 repetitions of the quaver motif is one of confirming the biblical laws chanted in the verses of the hymn There is likewise a reference to law in the canon of the quaver motif For Spitta 1899 the motif had an inherent organic connection with the chorale itself Some commentators aware that the number ten of the Ten Commandments has been detected in the two chorale preludes of Clavier Ubung III have endeavoured to find a hidden numerology in BWV 635 The attempts of Schweitzer 1905 have been criticised Harvey Grace felt that Bach was expressing the idea of insistence order dogma anything but statistics Williams 2003 points out however that if there is any intentional numerology it might be in the occurrences of the strict form of the motif with tone and semitone intervals matching the first entry it occurs precisely ten times in the chorale prelude b1 bass b1 tenor b2 bass b4 bass b9 tenor b10 bass b11 tenor b13 tenor b15 alto b18 tenor 48 49 BWV 636 Vater unser im Himmelreich Our Father who art in Heaven nbsp MIDI rendition source source source Problems playing this file See media help nbsp nbsp Hans Brosamer 1550 woodcut in Luther s Small Catechism of Christ teaching His disciples the Lord s PrayerBelow are the first and last verses of the Lutheran version of the Lord s Prayer with the English translation of George MacDonald Vater unser im Himmelreich der du uns alle heissest gleich Bruder sein und dich rufen an und willst das Beten von uns hab n gib dass nicht bet allein der Mund hilf dass es geh von Herzensgrund Amen das ist es werde wahr stark unsern Glauben immerdar auf dass wir ja nicht zweifeln dran was wir hiermit gebeten hab n auf dein Wort in dem Namen dein so sprechen wir das Amen fein dd Our Father in the heaven Who art Who tellest all of us in heart Brothers to be and on Thee call And wilt have prayer from us all Grant that the mouth not only pray From deepest heart oh help its way Amen that is let this come true Strengthen our faith ever anew That we may never be in doubt Of that we here have prayed about In Thy name trusting in Thy word We say a soft Amen O Lord dd Following the publication of the text and melody in 1539 the hymn was used in many choral and organ compositions Amongst Bach s immediate predecessors Dieterich Buxtehude wrote two settings of the hymn for organ a freely composed chorale prelude in three verses BuxWV 207 and a chorale prelude for two manuals and pedal BuxWV 219 and Georg Bohm composed a partita and two chorale preludes previously misattributed to Bach as BWV 760 and 761 Bach himself harmonised the hymn in BWV 416 with a later variant in one of the chorales from the St John Passion He used it in cantatas BWV 90 100 and 102 with a different text Amongst the early organ compositions on Vater unser attributed to Bach only the chorale prelude BWV 737 has been ascribed with any certainty After Orgelbuchlein Bach returned to the hymn with a pair of chorale preludes BWV 682 and 683 in Clavier Ubung III In the chorale prelude BWV 636 the plain cantus firmus is in the soprano voice The accompaniment in the inner parts and pedal is based on a four note semiquaver suspirans motif i e preceded by a rest or breath and a longer eight note version both are derived from the first phrase of the melody In turn Bach s slight alteration of the melody in bars 1 and 3 might have been dictated by his choice of motif The two forms of the motif and their inversions pass from one lower voice to another producing a continuous stream of semiquavers semiquavers in one voice are accompanied by quavers in the other two The combined effect is of the harmonisation of a chorale by arpeggiated chords Hermann Keller even suggested that Bach might have composed the chorale prelude starting from an earlier harmonisation as Williams 2003 points out however although the harmonic structure adheres to that of a four part chorale the pattern of semiquavers and suspended notes is different for each bar and always enhances the melody sometimes in unexpected ways Schweitzer 1905 described the accompanying motifs as representing peace of mind quietude 50 51 52 BWV 637 Durch Adams Fall ist ganz verderbt Through Adam s fall are wholly ruined nbsp MIDI rendition source source source Problems playing this file See media help nbsp nbsp Marriage Temptation and Fall of Adam sixteenth century stained glass from Steinfeld AbbeyBelow are the first and seventh verses of the hymn written in 1524 by Lazarus Spengler with an English translation by John Christian Jacobi Durch Adams Fall ist ganz verderbt menschlich Natur und Wesen dasselb Gift ist auf uns errebt dass wir nicht mocht n genesen ohn Gottes Trost der uns erlost hat von dem grossen Schaden darein die Schlang Eva bezwang Gotts Zorn auf sich zu laden Wer hofft in Gott und dem vertraut wird nimmermehr zu Schanden denn wer auf diesen Felsen baut ob ihm gleich geht zuhanden wie Unfalls hie hab ich doch nie den Menschen sehen fallen der sich verlasst auf Gottes Trost er hilft sein Glaub gen allen dd When Adam fell the frame entire Of nature was infected The source whence came the poison dire Was not to be corrected The lust accursed indulged at first Brought death as its production But God s free grace hath saved our race From misery and destruction But who makes God his Hope and trust Shall never be confounded No Cleaver to this Rock is lost Thou ev ry where surrounded With daring foes and trying woes His Faith yet stands unshaken Who loves the Lord shall by no sword Or woe be overtaken dd nbsp Durch Adams Fall in Luther s Geistliche Lieder Wittenberg 1535The penitential text written in the Nuremberg of Hans Sachs and the Meistersingers where Spengler was town clerk is concerned with human misery and ruin faith and redemption it encapsulates some of the central tenets of the Lutheran Reformation The melody originally for a Reformation battle hymn of 1525 was first published with Spengler s text in 1535 Bach previously set it as a chorale prelude in the Kirnberger Collection BWV 705 and Neumeister Collection BWV 1101 the seventh verse also recurs in the closing chorales of cantatas BWV 18 and BWV 109 Dieterich Buxtehude had already set the hymn as a chorale prelude BuxWV 183 prior to Bach The chorale prelude BWV 637 is one of the most original and imaginative in the Orgelbuchlein with a wealth of motifs in the accompaniment Scored for single manual and pedal the unadorned cantus firmus is in the soprano voice Beneath the melody in a combination of four different motifs the inner parts wind sinuously in an uninterrupted line of semiquavers moving chromatically in steps Below them the pedal responds to the melodic line with downward leaps in diminished major and minor sevenths punctuated by rests Bach s ingenious writing is constantly varying The expressive mood is heightened by the fleeting modulations between minor and major keys and by the dissonances between the melody and the chromatic inner parts and pedal The abrupt leaps in the pedal part create unexpected changes in key and halfway through the chorale prelude the tangled inner parts are inverted to produce an even stranger harmonic texture resolved only in the final bars by the modulation into a major key The chorale prelude has generated numerous interpretations of its musical imagery its relation to the text and to baroque affekt Williams 2003 records that the dissonances might symbolise original sin the downward leaps in the pedal the fall of Adam and the modulations at the close hope and redemption the rests in the pedal part could be examples of the affekt that the seventeenth century philosopher Athanasius Kircher called a sighing of the spirit Stinson 1999 points out that the diminished seventh interval used in the pedal part was customarily associated with grief The twisting inner parts have been interpreted as illustrating the words verderbt ruined by Hermann Keller and Schlang serpent by Jacques Chailley Terry 1921 described the pedal part as a series of almost irremediable stumbles in contrast Ernst Arfken saw the uninterrupted cantus firmus as representing constancy in faith For Wolfgang Budday Bach s departure from normal compositional convention was itself intended to symbolise the corruption and depravity of man Spitta 1899 also preferred to view Bach s chorale prelude as representing the complete text of the hymn instead of individual words distinguishing it from Buxtehude s earlier precedent Considered to be amongst his most expressive compositions Snyder 1987 describes it as imbued with sorrow Buxtehude s setting employs explicit word painting 53 54 55 BWV 638 Es ist das Heil uns kommen her Salvation has come to us nbsp MIDI rendition source source source Problems playing this file See media help nbsp nbsp Es ist das Heil uns kommen her in the Erfurt Enchiridion 1524The first verse of the Lutheran hymn Es ist das Heil uns kommen her of Paul Speratus is given below with the English translation of John Christian Jacobi Es ist das Heil uns kommen her von Gnad und lauter Gute die Werke helfen nimmermehr sie mogen nicht behuten der Glaub sieht Jesus Christus an der hat g nug fur uns all getan er ist der Mittler worden dd Our whole salvation doth depend On God s free grace and Spirit Our fairest works can ne er defend A boast in our own merit Derived is all our righteousness From Christ and His atoning grace He is our Mediator dd The text treats a central Lutheran theme only faith in God is required for redemption The melody is from an Easter hymn Many composers had written organ settings prior to Bach including Sweelinck Scheidt and Buxtehude his chorale prelude BuxWV 186 After Orgelbuchlein Bach set the entire hymn in cantata Es ist das Heil uns kommen her BWV 9 and composed chorales on single verses for cantatas 86 117 155 and 186 In the chorale prelude BWV 638 for single manual and pedal the cantus firmus is in the soprano voice in simple crotchets The accompaniment in the inner voices is built on a four note motif derived from the hymn tune a descending semiquaver scale starting with a rest or breath suspirans together they provide a constant stream of semiquavers sometimes in parallel sixths running throughout the piece until the final cadence Below them the pedal is a walking bass in quavers built on the inverted motif and octave leaps pausing only to mark the cadences at the end of each line of the hymn The combination of the four parts conveys a joyous mood similar to that of BWV 606 and 609 For Hermann Keller the running quavers and semiquavers suffuse the setting with health and strength Stinson 1999 and Williams 2003 speculate that this chorale prelude and the preceding BWV 637 written on opposite sides of the same manuscript paper might have been intended as a pair of contrasting catechism settings one about sin the other about salvation Both have similar rhythmic structures in the parts but one is in a minor key with complex chromatic harmonies the other in a major key with firmly diatonic harmonies 56 57 Miscellaneous BWV 639 644 edit BWV 639 Ich ruf zu dir Herr Jesu Christ I call to you Lord Jesus Christ a 2 Clav et Ped nbsp MIDI rendition source source source Problems playing this file See media help nbsp nbsp Autograph manuscript of Ich ruf zu dir Herr Jesu Christ BWV 639Below is the first verse of Johannes Agricola s hymn with the English translation of John Christian Jacobi Ich ruf zu dir Herr Jesu Christ ich bitt erhor mein Klagen verleih mir Gnad zu dieser Frist lass mich doch nicht verzagen Den rechten Glauben Herr ich mein den wollest du mir geben dir zu leben meim Nachsten nutz zu sein dein Wort zu halten eben dd Lord hear the voice of my complaint To Thee I now commend me Let not my heart and hope grow faint But deign Thy grace to send me True faith from Thee my God I seek The faith that loves Thee solely Keeps me lowly And prompt to aid the weak And mark each word that Thou dost speak dd Ich ruf zu dir is amongst the most popular chorale preludes in the collection Pure in style this ornamental chorale prelude has been described as a supplication in time of despair Written in the meantone key of F minor it is the unique prelude in trio form with voices in the two manuals and the pedal It is possible that the unusual choice of key followed Bach s experience playing the new organ at Halle which employed more modern tuning The ornamented melody in crotchets quarter notes sings in the soprano above a flowing legato semiquaver 16th note accompaniment and gently pulsating repeated quavers eighth notes in the pedal continuo Such viol like semiquaver figures in the middle voice already appeared as imitatio violistica in the Tabalutara nova 1624 of Samuel Scheidt The instrumental combination itself was used elsewhere by Bach in the third movement of the cantata Schmucke dich o liebe Seele BWV 180 for soprano violoncello piccolo and continuo and the 19th movement of the St John Passion with the middle voice provided by semiquaver arpeggios on the lute A close variant of BWV 639 is catalogued as BWV Anh 73 an expanded arrangement for organ attributed to the composer s son C P E Bach 58 BWV 640 In dich hab ich gehoffet Herr In you have I put my hope Lord nbsp MIDI rendition source source source Problems playing this file See media help nbsp nbsp Raising of Lazarus early 16C stained glass from Mariawald Abbey near CologneBelow is the first verse of the Lutheran hymn In dich hab ich gehoffet Herr of Adam Reissner with the English translation of Catherine Winkworth In dich hab ich gehoffet Herr hilf dass ich nicht zuschanden werd noch ewiglich zu Spotte Das bitt ich dich erhalte mich in deiner Treu mein Gotte dd In Thee Lord have I put my trust Leave me not helpless in the dust Let not my hope be brought to shame But still sustain Through want and pain My faith that Thou art aye the same dd nbsp Melody and text of hymn from Das Gros Kirchen Gesangbuch Strasbourg 1560The text of the hymn is derived from the first six lines of Psalm 31 and was associated with two different melodies in major and minor keys The hymn tune in the major key was used many times by Bach most notably in the funeral cantata BWV 106 the Christmas Oratorio and the St Matthew Passion BWV 640 is the only occasion he used the melody in the minor key which can be traced back to an earlier reformation hymn tune for Christ ist erstanden and medieval plainsong for Christus iam resurrexit In Bach s chorale prelude BWV 640 the cantus firmus is in the soprano voice several times held back for effect Beneath it the two inner voices often in thirds and the pedal provide an accompaniment based on a motif derived from the melody a falling three note anapaest consisting of two semiquavers and a quaver The motif is passed imitatively down through the voices often developing into more flowing passages of semiquavers the motif in the pedal has an added quaver and punctuated by rests is more fragmentary The harmonies resulting from the combined voices produce a hymn like effect Schweitzer 1905 described the anapaest as a joy motif to Hermann Keller it symbolised constancy For Williams 2003 the angular motifs and richer subdued textures in the lower registers are consonant with the firm hope of the text in contrast to more animated evocations of joy 59 incomplete short citation 60 BWV 641 Wenn wir in hochsten Noten sein When we are in the greatest distress a 2 Clav et Ped nbsp MIDI rendition source source source Problems playing this file See media help nbsp nbsp Adriaen Isenbrandt Our Lady of the Seven SorrowsBelow are the first two verses of the hymn of Paul Eber with the English translation of Catherine Winkworth Wenn wir in hochsten Noten sein und wissen nicht wo aus noch ein und finden weder Hilf noch Rat ob wir gleich sorgen fruh und spat So ist dies unser Trost allein dass wir zusammen insgemein dich rufen an o treuer Gott um Rettung aus der Angst und Not dd When in the hour of utmost need We know not where to look for aid When days and nights of anxious thought Nor help nor counsel yet have brought Then this our comfort is alone That we may meet before Thy throne And cry O faithful God to Thee For rescue from our misery dd The cantus firmus of this ornamental chorale prelude was written by Louis Bourgeois in 1543 It was used again the last of the Great Eighteen Chorale Preludes BWV 668 The accompaniment in the two middle voices often in parallel sixths and the pedal is derived from the first four notes of the melody The highly ornate ornamentation is rare amongst Bach s chorale preludes the only comparable example being BWV 662 from the Great Eighteen The vocal ornamentation and portamento appoggiaturas of the melody are French in style Coloratura passages lead into the unadorned notes of the cantus firmus Williams 2003 describes this musical device used also in BWV 622 and BWV 639 as a means of conveying a particular kind of touching inexpressible expressiveness The prelude has an intimate charm as Albert Schweitzer commented the soprano part flows like a divine song of consolation and in a wonderful final cadence seems to silence and compose the other parts BWV 642 Wer nur den lieben Gott lasst walten He who allows dear God to lead him nbsp MIDI rendition source source source Problems playing this file See media help nbsp nbsp Miracle of the Loaves and Fishes early 16C Flemish stained glassBelow are the first and last verses of the hymn Wer nur den lieben Gott lasst walten of Georg Neumark with the English translation of Catherine Winkworth Wer nur den lieben Gott lasst walten und hoffet auf ihn allezeit den wird er wunderlich erhalten in allem Kreuz und Traurigkeit Wer Gott dem Allerhochsten traut der hat auf keinen Sand gebaut Sing bet und geh auf Gottes Wegen verricht das Deine nur getreu und trau des Himmels reichem Segen so wird er bei dir werden neu denn welcher sine Zuversicht auf Gott setzt den verlasst er nicht dd If thou but suffer God to guide thee And hope in Him through all thy ways He ll give thee strength whate er betide thee And bear thee through the evil days Who trusts in God s unchanging love Builds on the rock that nought can move Sing pray and keep His ways unswerving So do thine own part faithfully And trust His word though undeserving Thou yet shalt find it true for thee God never yet forsook at need The soul that trusted Him indeed dd The melody was also composed by Neumark it and the text were first published in his hymn book of 1657 The hymn tune was later set to other words notably Wer weiss wie nahe mir mein Ende Who knows how near is my end Neumark originally wrote the melody in 32 time Bach however like Walther Bohm and Krebs generally preferred a version in 44 time for his fourteen settings in chorale preludes and cantatas it appears in cantatas BWV 21 BWV 27 BWV 84 BWV 88 BWV 93 BWV 166 BWV 179 and BWV 197 with words taken from one or other of the two hymn texts In the chorale prelude BWV 642 the unadorned cantus firmus in 44 time is in the soprano voice The two inner voices often in thirds are built on a motif made up of two short beats followed by a long beat an anapaest often used by Bach to signify joy for example in BWV 602 605 615 616 618 621 623 627 629 637 and 640 The pedal has a walking bass which also partly incorporates the joy motif in its responses to the inner voices For Schweitzer 1905 the accompaniment symbolised the joyful feeling of confidence in God s goodness BWV 642 has similarities with the earlier chorale prelude BWV 690 from the Kirnberger collection with the same affekt of a delayed entry in the second half of the cantus firmus The compositional structure for all four voices in BWV 642 is close to that of BWV 643 61 62 BWV 643 Alle Menschen mussen sterben All mankind must die nbsp MIDI rendition source source source Problems playing this file See media help nbsp nbsp Martin Schongauer Noli me tangereBelow are the first and last two verses of the funeral hymn of Johann Georg Albinus with the English translation of Catherine Winkworth Alle Menschen mussen sterben alles Fleisch vergeht wie Heu was da lebet muss verderben soll es anders werden neu Dieser Leib der muss verwesen wenn er anders soll genesen zu der grossen Herrlichkeit die den Frommen ist bereit O Jerusalem du Schone ach wie helle glanzest du Ach wie lieblich Lobgetone hort man da in sanfter Ruh O der grossen Freud und Wonne Jetzund gehet auf die Sonne jetzund gehet an der Tag der kein Ende nehmen mag Ach ich habe schon erblicket diese grosse Herrlichkeit Jetzund werd ich schon geschmucket mit dem weissen Himmelskleid und der goldnen Ehrenkrone stehe da vor Gottes Throne schaue solche Fruede an die kein Ende nehmen kann dd Hark a voice saith All are mortal Yea all flesh must fade as grass Only through Death s gloomy portal To a better life ye pass And this body formed of clay Here must languish and decay Ere it rise in glorious might Fit to dwell with saints in light O Jerusalem how clearly Dost thou shine thou city fair Lo I hear the tones more nearly Ever sweetly sounding there Oh what peace and joy hast thou Lo the sun is rising now And the breaking day I see That shall never end for me Yea I see what here was told me See that wondrous glory shine Feel the spotless robes enfold me Know a golden crown is mine So before the throne I stand One amid that glorious band Gazing on that joy for aye That shall never pass away dd BWV 643 is one of the most perfect examples of Bach s Orgelbuchlein style A mood of ecstasy permeates this chorale prelude a funeral hymn reflecting the theme of heavenly joy The simple cantus firmus sings in crotchets quarter notes above an accompanying motif of three semiquavers 16th notes followed by two quavers eighth notes that echoes between the two inner parts and the pedal This figure is also found in the organ works of Georg Bohm and Daniel Vetter from the same era Schweitzer 1905 describes its use by Bach as a motif of beatific peace commenting that the melody of the hymn that speaks of the inevitability of death is thus enveloped in a motif that is lit up by the coming glory Despite the harmonious thirds and sixths in the inner parts the second semiquaver of the motif produces a momentary dissonance that is instantly resolved again contributing to the mood of joy tinged by sadness As Spitta 1899 comments What tender melancholy lurks in the chorale Alle Menschen mussen sterben what an indescribable expressiveness for instance arises in the last bar from the false relation between c and c and the almost imperceptible ornamentation of the melody BWV 644 Ach wie nichtig ach wie fluchtig Oh how fleeting oh how feckless nbsp MIDI rendition source source source Problems playing this file See media help nbsp nbsp Bartholomaus Bruyn Memento MoriBelow are the first and last verses of Michael Franck s 1652 Lutheran hymn Ach wie fluchtig ach wie nichtig with the English translation of Sir John Bowring Ach wie fluchtig ach wie nichtig ist der Menschen Leben Wie Ein Nebel bald enstehet und auch wie der bald vergehet so ist unser Leben sehet Ach wie nichtig ach wie fluchtig sind der Menschen Sachen Alles alles was wir sehen das muss fallen und vergehen Wer Gott furcht wird ewig stehen dd O how cheating O how fleeting Is our earthly being Tis a mist in wintry weather Gathered in an hour together And as soon dispersed in ether O how fleeting O how cheating All yes all that s earthly Everything is fading flying Man is mortal earth is dying Christian live on Heaven relying dd nbsp Small organ in the Marienkirche in Halle which Bach played in 1713 in an audition for organist and subsequently evaluated in 1716The verses of Franck s hymn alternate the order of the words nichtig and fluchtig in their opening lines Bach s title conforms to a later 1681 hymnbook from Weimar which inverted the order throughout The chorale prelude is in four voices for single manual with pedals The cantus firmus in the soprano voice is a simple form of the hymn tune in crotchets The accompaniment intricately crafted from two separate motifs in the inner voices and in the pedal is a particularly fine illustration of Bach s compositional method in the Orgelbuchlein The motif in the pedal is a constant three note quaver figure with octave leaps punctuated by frequent rests Above this bass the inner voices weave a continuous pattern of descending and ascending scales in semiquavers constantly varying sometimes moving in the same direction and sometimes in contrary motion This texture of flowing scales over a quasi pizzicato bass captures the theme of the hymn it is a reflection on the transitory nature of human existence likened to a mist gathered in an hour together and soon dispersed Similar semiquaver figures had been used in other contemporary settings of this hymn for example in a set of variations by Bohm 63 nbsp 4th variation of Georg Bohm s partita on Ach wie nichtig dd and in the first chorus of Bach s cantata BWV 26 but without conveying the same effect of quiet reflection To Spitta 1899 the scales hurry by like misty ghosts Hermann Keller saw the bass motif as representing the futility of human existence Others have suggested that the rests in the pedal part might symbolise the nothingness of ach wie nichtig Exceptionally Bach scored the final chord of this nebulous piece without pedal A similar device has been used by Bach for the word inanes empty in the ninth movement of his Magnificat Stinson 1999 also sees similarities with Bach s omission of a bass part in Wie zittern und wanken from cantata BWV 105 an aria concerned with the uncertainties in the life of a sinner 63 64 Reception editThe Orgelbuchlein was originally passed from teacher to student and was not published in its entirety until Felix Mendelssohn edited an edition Notable editions have been made by Robert Clark and John David Peterson Quentin Faulkner Albert Riemenschneider and Albert Schweitzer Transcriptions editArranger and instrumentation Published title Original chorale prelude by BWV numberJohann Nepomuk Schelble piano duet Var Choraele furs P f zu 4 Haenden eingerichtet Dunst undated BWV 620a 614 622Adolph Bernhard Marx piano Anzahl aus Sebastian Bach s Kompositionen zur ersten Bekanntschaft mit dem Meister am Pianoforte Challier 1844 BWV 614 619Ferruccio Busoni piano Orgelchoralvorspiele von Johann Sebastian Bach Auf das Pianoforte im Kammerstyl ubertragen 2 vols Breitkopf amp Hartel 1898 BWV 615 617 637 639Max Reger piano Ausgewahlte Choralvorspiele von Joh Seb Bach Fur Klavier zu 2 Handen ubertragen Universal Edition 1900 BWV 614 622 637 639 644Bernhard Friedrich Richter piano duet Joh Seb Bachs Werke Nach der Ausgabe der Bachgesellschaft Orgelbuchlein 46 kurzere Choralbearbaitungen fur Klavier zu vier Handen Breitkopf amp Hartel 1902 BWV 599 644Max Reger string orchestra Johann Sebastian Bach O Mensch bewein dein Sunde gross Aria nach dem Choralvorspiel fur Streichorchester bearbeitet Breitkopf amp Hartel 1915 BWV 622Max Reger violin and organ Album fur Violine mit Orgelbegleitung Breitkopf amp Hartel 1915 BWV 622Leopold Stokowski orchestra Arrangements of several of the chorale preludes for the Philadelphia Orchestra 1916 1926 BWV 599 639Walter Rummel piano Adaptations Ser 1 J S Bach J amp W Chester 1922 BWV 614Vittorio Gui orchestra Due corale di J S Bach Trascritti dall organo per orchestra Universal Edition 1925 BWV 615 622Harry Hodge string orchestra Johann Sebastian Bach organ choral preludes arranged for strings Patterson s Publications 1926 BWV 600 639William Murdoch piano Johann Sebastian Bach organ choral preludes arranged for pianoforte Schott 1928 BWV 622 639Marco Enrico Bossi violin or viola and organ Johann Sebastian Bach O Mensch bewein dein Sunde gross Edition Euterpe 1929 BWV 622Arthur Bliss piano A Bach Book for Harriet Cohen Transcriptions for Pianoforte from the works of J S Bach Oxford University Press 1932 BWV 614Herbert Howells piano A Bach Book for Harriet Cohen Transcriptions for Pianoforte from the works of J S Bach Oxford University Press 1932 BWV 622Constant Lambert piano A Bach Book for Harriet Cohen Transcriptions for Pianoforte from the works of J S Bach Oxford University Press 1932 BWV 605Harry S Hirsch oboe clarinet bassoon Johann Sebastian Bach I Call Upon Thy Name O Jesus Carl Fischer 1934 BWV 639Alexander Kelberine piano Joh Seb Bach Organ Chorale Prelude Ich ruf zu dir Herr Jesu Christ Elkan Vogel 1934 BWV 639Mabel Wood Hill string quartet orchestra J S Bach Chorale Preludes R D Roe 1935 BWV 615 619 623Eric DeLamarter string orchestra J S Bach Chorale Prelude Das alte Jahr vergangen ist Ricordi 1940 BWV 614Amedeo de Filippi string quartet orchestra Johann Sebastian Bach Blessed Jesus We Are Here Chorale Prelude Concord 1940 BWV 633Boris Goldovsky 2 pianos J S Bach Oh How Fleeting J Fischer and Bro 1940 BWV 644Felix Guenther piano Johann Sebastian Bach 24 chorale preludes compiled and arranged for piano solo Edward B Marks 1942 BWV 814 615 623 639Max Reger piano Johann Sebastian Bach drei Orgelchoralvorspiele fur Klavier gearbeitet Breitkopf amp Hartel 1943 BWV 606 638Charles Henry Stuart Duncan 2 pianos Johann Sebastian Bach eleven chorale preludes from the little organ book G Schirmer 1949 BWV 600 601 608 609 610 625 627 633 636 637 643Anne Hull 2 pianos Johann Sebastian Bach Chorale Prelude In dir ist Freude Carl Fischer 1950 BWV 615Wilhelm Kempff piano Johann Sebastian Bach Ich ruf zu dir Herr Jesu Christ Choralvorspiel Bote amp Bock 1954 BWV 639Gyorgy Kurtag 2 pianos Transcriptions from Machaut to J S Bach Editio Musica Budapest 1985 BWV 611 618 619 637 643 644Harrison Birtwistle soprano clarinet in A basset horn bass clarinet Five Chorale Preludes Universal Edition 1975 BWV 637 620 614 and BWV 691 and 728 Harrison Birtwistle chamber ensemble Bach Measures Boosey and Hawkes 1996 BWV 599 639 617 619 628 615 622 637Discography edit nbsp Arp Schnitger organ in CappelHelmut Walcha Schnitger organ St Peter and St Paul Cappel Lower Saxony Deutsche Grammophon Ton Koopman Riepp organ Ottobeuren Abbey Teldec 214662 Marie Claire Alain Silbermann organ Freiberg Cathedral Erato 4509 96759 2 Andre Isoir Ahrend organ in Cantate Domino evangelical church Frankfurt Calliope 9711 Bernard Foccroulle Schott organ in the Klosterkirche Muri Abbey Ricercar Peter Hurford organs of Church of Our Lady of Sorrows Toronto and St Catharine s College Cambridge Decca 443485 2 with Choir of St John s College Cambridge singing Walter Emery s 1969 harmonisations of chorales Simon Preston organ in Soro Academy Denmark Deutsche Grammophon Francesco Cera organ in Church of S Maria Assunta Giubasco Switzerland Brillant 94639 with Swiss Radiotelevision Choir singing each chorale Rene Saorgin organ in Saint Pierre de Luxeuil Cathedral France Harmonia Mundi HMX 2951215 Anton Heiller 1964 Metzler organ in Nestal Switzerland Vanguard LPs VCS 10026 amp VCS 10027 1968 See also editList of compositions by Johann Sebastian Bach Neumeister Chorales Schubler Chorales Great Eighteen Chorale Preludes Clavier Ubung III Canonic Variations Ich ruf zu dir Herr Jesu Christ BWV 177Notes edit Anon n d Geck 2005 p 91 Stinson 1999 pp 3 10 Haupt 2000 Example of a possible registration for BWV 605 with glockenspiel source source source Rose 2008 Wollny amp Maul 2008 See Williams 2003 pp 541 574 Wolff 1991 p 300 Wolff 1991 Stinson 2003 pp 499 527 sfn error no target CITEREFStinson2003 help See Boyd 2000 pp 28 29 Williams 2003 Williams 2003 p 236 Stinson 1999 pp 80 81 Williams 2003 pp 245 247 Williams 2003 pp 249 250 Stinson 1999 pp 82 83 Williams Peter 22 September 2009 The Organ Music of J S Bach 2nd ed Cambridge University Press p 30 ISBN 978 0511481871 Retrieved 21 August 2016 a b Williams 2003 p 586 Similar to the Bach motif but with different pitches this is a four note figure with the first and fourth notes having the same pitch but the second and third notes higher and lower or lower and higher so named because the two lines joining the end notes and the middle notes form a cross Williams 2003 pp 250 251 Stinson 1999 pp 83 85 Benitez 1987 p 6 Clark amp Peterson 1984 p 75 Williams 2003 pp 251 252 Stinson 1999 pp 106 108 Williams 2003 pp 253 255 Stinson 1999 pp 85 87 Williams 2003 pp 255 256 Stinson 1999 p 88 Williams 2003 pp 256 258 Stinson 1999 pp 107 109 Stinson 1999 p 109 Stinson 2006 p 206 Williams 1985 pp 39 41 Williams 2003 pp 260 262 a b c Williams 2003 pp 264 265 a b c Stinson 1999 pp 110 111 Kielian Gilbert 2006 Emery Walter 1941 Footnotes to Sanford Terry s Bach s Chorals Musical Times 82 1175 13 15 58 60 doi 10 2307 921966 JSTOR 921966 a b Renwick 2006 Temperley 2006 Williams 2003 p 266 Emery 1938 Williams 2003 pp 277 278 Stinson 1999 pp 88 89 Terry 1921 p 203 The initial letters of the thirteen verses spell Heinrich Muler Williams 2003 p 285 England s translation is taken from Terry 1921 p 118 who reproduces all seven verses Williams 2003 pp 284 285 Renwick 1995 pp 4 6 Williams 2003 pp 284 286 Stinson 1999 pp 111 112 Williams 2003 pp 296 298 Stinson 1999 pp 92 94 Williams 2003 pp 300 302 Stinson 1999 pp 94 95 Williams 2003 pp 302 303 Snyder 1987 Stinson 1999 pp 95 96 Williams 2003 pp 303 305 Stinson 1999 pp 97 98 Benitez 1987 p 10 Williams 2003 pp 305 306 Stinson 1999 pp 99 100 Richards amp Yearsley 2008 p xvii Stinto 1999 pp 120 121 sfn error no target CITEREFStinto1999 help Williams 2003 pp 310 Williams 2003 pp 311 313 Stinson 1999 p 122 a b Williams 2003 pp 314 316 Stinson 1999 pp 124 125 Sources edit Anon n d Orgelbuchlein Project Retrieved 13 May 2020 Benitez Vincent P 1987 Musical rhetorical figures in the Orgelbuchlein of J S Bach Bach 18 1 3 21 JSTOR 41640282 Boyd Malcolm 2000 Bach Master musicians 3rd ed Oxford University Press ISBN 0 19 514222 5 Chailley Jacques 1974 Les chorales pour orgues de J S Bach Leduc ISBN 2856890113 Clark Robert Peterson John David eds 1984 Orgelbuchlein Concordia Geck Martin 2005 Bach London Haus Publishing ISBN 1 904341 16 0 Emery Walter October 1938 The Orgelbuchlein Some Textual Matters I Readings of the tablature in Christus der uns selig macht The Musical Times 79 1148 770 771 doi 10 2307 923787 JSTOR 923787 Haupt Hartmut 2000 Stauffer George B May Ernest eds Bach s organs in Thuringia J S Bach as Organist His Instruments Music and Performance Practices Indiana University Press pp 25 30 ISBN 0 253 21386 X Honders A Casper 1988 Het Orgel Buchlein gehoord vanuit de teksten in Brouwer Frans ed Bachs Orgel Buchlein in nieuw perspectief Studies over Bachs Orgel Buchlein Verslag van het internationale Bach Congres van de Nederlandse Organistenvereniging Groningen 1985 KerkMLiturg vol 1 Utrecht Hogeschool voor de Kunsten pp 21 51 Kielian Gilbert Marianne 2006 Inventing a Melody with Harmony Tonal Potential and Bach s Das alte Jahr vergangen ist PDF Journal of Music Theory 50 77 101 doi 10 1215 00222909 2008 008 Keller Hermann 1948 The organ works of Bach a contribution to their history form interpretation and performance transl Helen Hewitt 1967 C F Peters Renwick William 1995 Analyzing Fugue A Schenkerian Approach Pendragon Press ISBN 0945193521 Renwick W 2006 Of Time and Eternity Reflections on Das alte Jahr vergangen ist PDF Journal of Music Theory 50 65 76 doi 10 1215 00222909 2008 007 Richards Annette Yearsley David 2008 Carl Philipp Emanuel Bach Organ Works PDF Packard Humanities Institute ISBN 978 1 933280 33 2 archived from the original PDF on 2016 08 04 Rose Stephen 2008 Review of The Creative Development of Johann Sebastian Bach i 1695 1717 Music to Delight the Spirit By Richard D P Jones Music amp Letters 89 618 620 doi 10 1093 ml gcm124 archived from the original on 2013 04 15 Schweitzer Albert 1905 J S Bach le musicien poete Breitkopf amp Hartel Schweitzer Albert 1911a J S Bach Volume I Breitkopf amp Hartel Schweitzer Albert 1911b J S Bach Volume II Breitkopf amp Hartel Snyder Kerala 1987 Dieterich Buxtehude Organist in Lubeck Schirmer Books ISBN 0 02 873080 1 Spitta Philipp 1899 Johann Sebastian Bach his work and influence in the music of Germany Volume I transl Clara Bell amp J A Fuller Maitland Novello Stinson Russell 1999 Bach the Orgelbuchlein Oxford University Press ISBN 978 0 19 386214 2 Stinson Russell 2006 The reception of Bach s organ works from Mendelssohn to Brahms Oxford University Press ISBN 0 19 517109 8 Temperley David 2006 Key Structure in Das alte Jahr vergangen ist PDF Journal of Music Theory 50 103 110 doi 10 1215 00222909 2008 009 Terry Charles Sanford 1921 Bach s Chorals vol III Cambridge University Press Williams Peter 1985 The Organ Music of J S Bach Volume II BWV 599 771 etc Cambridge Studies in Music Cambridge University Press ISBN 0 521 31700 2 Williams Peter 2003 The Organ Music of J S Bach 2nd ed Cambridge University Press pp 227 316 ISBN 0 521 89115 9 Wolff Christoph 1991 Bach essays on his life and music Harvard University Press pp 297 305 ISBN 0 674 05926 3 Chapter 22 Chronology and style in the early works a background for the Orgelbuchlein Wollny Peter Maul Michael 2008 The Weimar Organ Tablature Bach s Earliest Autographs PDF Understanding Bach 3 67 74Further reading editGeck Martin 2000 Bach Leben und Werk in German Reinbek Rowohlt ISBN 3 498 02483 3 Hiemke Sven ed 2004 Orgelbuchlein BWV 599 644 Faksimile nach dem Autograph in der Staatsbibliothek zu Berlin Preussischer Kulturbesitz Laabe Verlag ISBN 3890075703 Hiemke Sven 2007 Johann Sebastian Bach Orgelbuchlein Barenreiter Verlag ISBN 978 3761817346 Jones Richard Douglas 2007 The Creative Development of Johann Sebastian Bach Music to Delight the Spirit Volume 1 1695 1717 Oxford University Press ISBN 978 0 19 816440 1 Wolff Christoph 2002 Johann Sebastian Bach The Learned Musician Oxford University Press ISBN 0 19 924884 2External links editPart 1 and Part 2 of scanned images of the autograph manuscript of the Orgelbuchlein at IMSLP Das Orgel Buchlein BWV 599 644 Scores at the International Music Score Library Project Free scores on Mutopia of the whole collection of 46 chorale preludes from the Orgelbuchlein Free downloads of the complete Orgelbuchlein recorded by James Kibbie on the 1717 Trost organ St Walpurgis Grossengottern Germany either search for individual works or download the whole collection The Orgelbuchlein Project a project to complete the missing chorale preludes listed in Bach s original plan Portal nbsp Classical Music Retrieved from https en wikipedia org w index php title Orgelbuchlein amp oldid 1198982470 BWV 618, wikipedia, wiki, book, books, library,

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