By Charles Sanford Terry
An excerpt from the Preface:
within the current quantity these of the Cantatas and Motetts are thought of.
the writer techniques the Chorals from the ancient instead of a classy point of view.
His item is to bare the foundation and authorship of the Hymns and Hymn melodies which, like jewels, beautify Bach's concerted Church track.
The melodies are published the following of their earliest shape and, the place attainable, Bach's adaptations of them are traced to an previous culture or attributed to himself In related demeanour, the textual content of his Hymn stanzas, as revealed by way of the Bachgesellschaft, has been collated with the originals in Philipp Wackernagel's Das deutsche Kirchenlied von der ältesten Zeit bis zu Anfang des XVII Jahrhunderts (Leipzig, five vols. 1864-77) or Albert Fischer and W. Tümpel's Das deutsche evangelische Kirchenlied des siebzehnten Jakrkunderts (Gütersloh, 1904-16). The few Hymns which aren't in these collections are marked with an asterisk within the following pages. the writer has now not had the chance to check their unique texts in other places.
For the aid of scholars and others the writer, at the first incidence of each Choral melody, states the place Bach makes use of it in different places in his concerted Church song and Organ works*. therefore, Bach's remedy of a selected track may be studied exhaustively.
considering that all yet many of the Cantatas are released in simple terms with German texts, it has appeared really helpful to supply an Appendix of translations of the Hymn stanzas, upwards of 2 hundred and fifty in quantity, which Bach makes use of within the Cantatas and Motetts. at any place it truly is to be had, the textual content of Novello & Co.'s and Messrs J. & W. Chester's variants has been used, with the permission of the 2 enterprises.
Six melodies that happen within the "Passions" and Oratorios will not be present in the Cantatas or Motetts.
they're revealed in an Appendix. This quantity as a result comprises all of the Choral tunes utilized by Bach in his concerted Church track.
* The references all through are to Novello's variation of Bach's Organ Works, Books xv-xix.
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Additional info for Bach’s Chorals. Part 2 : the hymns and hymn melodies of the cantatas and motetts.
5I 99 i38 Seele_, 4. v. 25-26 , x. G. St Matt. vi. Jauehzet Gott in allen Landen 4, lO,11. Was Gott thut, das ist wohlgethan _, 4. Warum bet_bst du dieh, mein Herz _, 4. Sixteenth (E. Eph. iii. I3-2I. G. St Luke vii. Ii-i7) _ 8 Liebster Gott, warm werd' ieh sterben _, 4 1 Psalm eiii. _. Also for Rathswahl use. The Cantata bears the title of the first stanza of a congregational Hymn. See znfwa the seetion on the Cantata. 8 Text relative to the Epistle. 4 The text is provided or suggested by the Gospel for the Day.
_ See also No. i61. INTRODUCTION -°7 95 I61 Wer weiss, wie nahe mir mein Ende l, 2, 3 Christus, der ist mere Leben 1, 2. Komm, du susse Todesstunde 1, 4. Seventeenth I-I 19 (E. Eph. iv. 1-6. G. St Luke xiv. I). 47 I I4 148 Wet sich werden selbst l, 5. erh6het, der soll erniedriget Ach, lleben Christen, seid getrost 1, 2. Bringet dem Herrn Ehre seines Namens Eighteenth (E. i Cot. i. 4-9. G. St 1,6, L Matt. xxii. 34-46). 96 Herr Christ, i69 Gott soll allein Nineteenth (E. der ein'ge mein Eph. Gottes-Sohn Herze haben iv.
The pre- 122) is penultimate number of No. 38 is based upon the Gospel for the Day. The Choral Cantatas of the post I734 period, written for the most part, as Spitta shows l, on paper having the same watermark, exhibit the final and perfected type last movements melody of the of libretto. In all, the first and are Choruses upon the words and Hymn. In all, the opening move- ment is a Choral Fantasia 2. In all but eight, the last movement is a Simple Choral--Nos. 4I, IOO, IO7 are Extended, Nos. I, 9 I, ioI, 13o are Embellished, and No.