Delphi Masterworks of Johann Sebastian Bach (Illustrated) (Delphi Great Composers Book 3)
Page 32
68
?1735. Whit Monday. Contains old (1716) secular material.
Also hat Gott die Welt geliebt.
Marianne von Ziegler (Ibid.). Emended by Bach. See “Was mir behagt.”
Stanza i. of Salomo Liscow’s hymn, “Also hat Gott die Welt geliebt”; St. John iii. 18; rest of libretto original. S. B. Soli.
†175
?1735. Whit Tuesday.
Er rufet seinen Schafen mit Namen (St. John x. 3).
Marianne von Ziegler (Ibid.). Emended slightly by Bach.
St. John x. 3, 6; Stanza ix. of Johann Rist’s hymn, “O Gottes Geist, mein Trost und Rath “; rest of libretto original. A. T. B. Soli.
176
?1735. Trinity Sunday. (See No. 20 (1725).)
Es ist ein trotzig und verzagt Ding. (Cf. Jer. xvii. 9).
Marianne von Ziegler (Ibid.). Emended by Bach.
Stanza viii. of Paul Gerhardt’s hymn, “Was alle Weisheit in der Welt”; rest original. S. A. B. Soli.
107
c. 1735. Seventh S. after Trinity.
Was willst du dich betrüben.
Johann Heermann.
Choral Cantata. Six stanzas of the hymn are set in their original form. The final Choral is stanza xiv. of David Denicke’s hymn, “Ich will zu aller Stunde.” S. T. B. Soli.
94
?1735. Ninth S. after Trinity.
Was frag ich nach der Welt.
Georg Michael Pfefferkorn (arranged).
Choral Cantata. Stanzas i., iii., v., vii., viii. are set in their original form. Stanzas ii., iv., vi. are paraphrased in the Arias.
133
1735 (or 1737). Feast of St. John the Evangelist.
Ich freue mich in dir.
Caspar Ziegler (arranged by ?Christian Weiss, junr.).
Choral Cantata. Stanzas i. and iv. of the hymn are set in their original form. The intervening stanzas are paraphrased in the Arias and Recitativi.
100
c. 1735. ?Fifteenth S. after Trinity, for a Wedding.
Was Gott thut, das ist wohlgethan.
Samuel Rodigast.
Choral Cantata. The six stanzas of the hymn are set in their original form.
5
1735. Nineteenth S. after Trinity.
Wo soll ich fliehen hin.
Johann Heermann (arranged by ?Picander).
Choral Cantata. Stanzas i. and xi. of the hymn are set in their original form. The intervening Arias and Recitativi are based particularly on stanzas iii., iv., vii., viii., ix.
79
1735. Reformation Festival (Oct. 30).
Gott, der Herr, ist Sonn und Schild (Psalm Ixxxiv. 11).
?Christian Weiss, senr.
Psalm lxxxiv. 11; Stanza i. of Martin Rinkart’s hymn, “Nun danket alle Gott”; Stanza viii. of Ludwig Helmbold’s hymn, “Nun lasst uns Gott dem Herren”; rest of libretto original. S. A. B. Soli.
41
?1736. New Year’s Day.
Jesu, nun sei gepreiset.
Johann Heermann (arranged).
Choral Cantata. Stanzas i. and iii. of the hymn are set in their original form. Stanza ii. is paraphrased in the intervening Arias and Recitativi.
†13
c. 1736. Second S. after the Epiphany.
Meine Seufzer, meine Thränen.
Author unknown.
Stanza ii. of Johann Heermann’s hymn, “Zion klagt mit Angst und Schmerzen”; Stanza xv. of Paul Flemming’s hymn, “In allen meinen Thaten”; rest original.
(1736. Easter Day)
Kommt, eilet und laufet.
?Picander.)
6
1736. Easter Monday.
Bleib’ bei uns, denn es will Abend werdeu (St. Luke xxiv. 29).
Author unknown. Wustmann (note 53) suggests Picander.
St. Luke xxiv. 29; Stanzas i. and ii. of Nikolaus Selnecker’s hymn, “Ach bleib’ bei uns, Herr Jesu Christ”; Stanza ii. of Luther’s hymn, “Erhalt’ uns, Herr, bei deinem Wort”; rest original.
28
c. 1736. Sunday after Christmas. Spitta, ii. 433, dates it 1725-27.
Gottlob! nun geht das Jahr zu Ende.
Erdmann Neumeister (“Fünffache Kirchen-Andachten,” 1716. Ser. IV.
Stanza i. of Johann Graumann’s hymn, “Nun lob’, mein Seel’, den Herren”; Jeremiah xxxii. 41; Stanza vi. of Paul Eber’s hymn, “Helft mir Gott’s Gütte preisen”; rest of libretto original.
17
c. 1737. Fourteenth S. after Trinity.
Wer Dank opfert, der preiset mich (Psalm 1., 23).
?Bach. Schweitzer (ii. 343) attributes the text to Picander.
Part I.: Psalm 1. 23; Part II.: St. Luke xvii. 15, 16; Stanza iii. of Johann Graumann’s hymn, “Nun lob’, mein’ Seel’, den Herren”; rest original.
118
c. 1737. ?For a Funeral.
O Jesu Christ, mein’s Lebens Licht.
Martin Behm.
Stanza i. of Martin Behm’s hymn, “O Jesu Christ, mein’s Lebens Licht.” A Motet; cf. No. 50 (c. 1740.
197
?1737. For a Wedding. Contains older material (?1728).
Gott ist uns’re Zuversicht.
?Bach. Pt. II.’s Arias are based on the Christmas Cantata “Ehre sei Gott” (?1728).
Stanza iii. of Luther’s hymn, “Nun bitten wir den heiligen Geist”; Stanza vii. (partly rewritten) of Georg Neumark’s hymn, “Wer nur den lieben Gott lässt walten”; rest original. S. A. B. Soli.
30
1738. Feast of St. John Baptist (Midsummer Day).
Freue dich, erloste Schaar.
Reconstruction, by ?Picander, of his “Angenehmes Wiederau,” 1737, from which the music also is in part borrowed.
Part I.: Stanza iii. of Johannes Olearius’ hymn, “Tröstet, tröstet, meine Lieben”; rest of libretto original.
123
1740. Feast of the Epiphany.
Liebster Immanuel, Herzog der Frommen.
Ahasuerus Fritsch (arranged by ?Christian Weiss, junr.).
Choral Cantata. Stanzas i. and v. of the hymn are set in their original form. Stanzas ii., iii., iv. are paraphrased in the intervening Arias and Recitativi. A. T. B. Soli.
†32
c. 1740. First S. after the Epiphany.
Leibster Jesu, mein Verlangen.
?Picander.
St. Luke ii. 49; Stanza xii. of Paul Gerhardt’s hymn, “Weg, mein Herz, mit den Gedanken”; rest of libretto original. S. B. Soli.
124
c. 1740. First S. after the Epiph-any.
Meinen Jesum lass’ ich nicht.
Christian Keimann (arranged by ?Picander).
Choral Cantata. Stanzas i. and vi. of the hymn are set in their original form. Stanzas ii.-v. are paraphrased in the intervening Arias and Recitativi.
3
c. 1740. Second S. after the Epiphany.
Ach Gott, wie manches Herzeleid.
Martin Moller (arranged by ?Christian Weiss, junr.).
Choral Cantata. Stanzas i., ii., xii. of the hymn are set in their original form. Stanzas iv.-vi., ix., x. are paraphrased in the Arias and Recitativo.
111
c. 1740. Third S. after the Epiphany.
Was mein Gott will, das g’scheh’ allzeit.
Albrecht, Margrave of Brandenburg-Culmbach (arranged).
Choral Cantata. Stanzas i. and iv. of the hymn are set in their original form. Stanzas ii. and iii. are paraphrased in the Arias and Recitativi.
92
c. 1740. Septuagesima.
Ich hab’ in Gottes Herz und Sinn.
Paul Gerhardt (arranged by ?Picander).
Choral Cantata. Stanzas i., ii., v., x., xii. of the hymn are set in their original form. Stanzas iii., iv., vi.-viii., ix. are paraphrased in the Arias and Recitativo.
125
c. 1740. Feast of the Purification.
Mit Fried’ und Freud’ ich fahr’ dahin.
Luther (arranged).
Choral Cantata. Stanzas i., ii. , iv. are set in their ori
ginal form. Stanza iii. is paraphrased in the second Aria and Recitative. A. T. B. Soli.
126
c. 1740. Sexagesima.
Erhalt’ uns, Heir, bei deinem Wort.
Luther (arranged).
Choral Cantata. Stanzas i., iii., and Luther’s “Verleih’ uns Frieden gnädiglich” are set in their original form. The other stanzas are paraphrased in the Arias and second Recit. A. T. B. Soli.
127
c. 1740. Quinquagesima (“Esto-mihi”).
Herr Jesu Christ, wahr’r Mensch und Gott.
Paul Eber (arranged by ?Picander).
Choral Cantata. Stanzas i. and viii. of the hymn are set in their original form. The intervening stanzas are paraphrased in the Recitativi and Arias. S. T. B. Soli.
1
c. 1740. Feast of the Annunciation.
Wie schön leuchtet der Morgenstern.
Philipp Nicolai (arranged by ?Picander).
Choral Cantata. Stanzas i. and vii. of the hymn are set in their original form. Stanzas ii.-vi. are paraphrased in the intervening Recitativi and Arias. S. T. B. Soli.
146
c. 1740. Third S. after Easter (“Jubilate”). Incorporates older instrumental material.
Wir müssen durch viel Trübsal in das Reich Gottes eingehen (Acts xiv. 22).
Author unknown. Schweitzer (ii. 343) names Picander.
Acts xiv. 22; excepting the concluding Choral (words wanting in the score) the rest of the libretto is original.
34
c. 1740 (or 1741). Whit Sunday (“Am Pfingst-feste”. Incorporates (modified) parts of the Wedding Cantata (c. 1730) bearing the same title
O ewiges Feuer, O Ursprung der Liebe.
?by Bach.
Original throughout. Movements 1, 3, 5, follow the Wedding Cantata, words and music. A. T. B. Soli.
2
c. 1740. Second S. after Trinity.
Ach Gott, vom Himmel sieh darein.
Luther (arranged by ?Picander).
Choral Cantata. Stanzas i. and vi. of the hymn are set in their original form. The intervening stanzas are paraphrased in the Arias and Recitativi. A. T. B. Soli.
135
c. 1740. Third S. after Trinity.
Ach Herr, mich armen Sunder.
Cyriacus Schneegass. Also attributed to Christoph Demantius (arranged by ?Christian Weiss, junr.).
Choral Cantata. Stanzas i. and vi. of the hymn (see Psalm vi.) are set in their original form. The intervening stanzas are paraphrased in the Arias and Recitativi. A. T. B. Soli.
7
c.1740. Feast of St. John Baptist (Midsummer Day).
Christ unser Herr zum Jordan kam.
Luther (arranged).
Choral Cantata. Stanzas i. and vii. of the hymn are set in their original form. The intervening stanzas are paraphrased in the Arias and Recitativi. A. T. B. Soli.
10
c. 1740. Feast of the Visitation.
Meine Seel’ erhebt den Herren. (St. Luke, i. 46).
St. Luke, i. 46-55 (arranged).
Choral Cantata. Verses 46-48, 54, and the Doxology, are set in their original form. The other verses are paraphrased in the Arias and Recitativi.
45
c. 1740. Eighth S. after Trinity.
Est ist dir gesagt, Mensch, was gut ist (Micah vi., 8).
?Christian Weiss, senr. Schweitzer (ii. 343) attributes the text to Picander.
Part I.: Micah vi. 8; Part II.: St. Matthew vii. 22, 23; Stanza ii. of Johann Heermann’s hymn, “O Gott, du frommer Gott”; rest original. A. T. B. Soli.
178
c. 1740. Eighth S. after Trinity.
Wo Gott der Herr nicht bei uns halt (Psalm cxxiv.).
Justus Jonas (arranged).
Choral Cantata. Stanzas i., ii., iv., v., vii., viii., of the hymn are set in their original form. The other stanzas are paraphrased. A. T. B. Soli.
101
c. 1740. Tenth S. after Trinity.
Nimm von uns, Herr, du treuer Gott.
Martin Moller (arranged). Schweitzer (ii. 375) names Picander.
Choral Cantata. Stanzas i., iii., v., vii. are set in their original form. Stanzas ii., iv., vi. are paraphrased in the Arias.
113
c. 1740. Eleventh S. after Trinity.
Heir Jesu Christ, du höchstes Gut.
Bartholomaüws Ringwaldt(arranged).
Choral Cantata. Stanzas i., ii., iv., viii. of the hymn are set in their original form. Stanzas iii., v.-vii. are paraphrased in the Arias and Recitativo.
193
c. 1740. Inauguration of the Town Council (c. August 24). Incomplete.
Ihr Pforten (Tore) zu Zion
Author unknown.
Original throughout. S. A. T. (or B.) Soli.
33
c. 1740. Thirteenth S. after Trinity.
Allein zu dir, Herr Jesu Christ.
Johannes Schneesing. Attributed also to Conrad Hubert. Arranged.
Choral Cantata. Stanzas i. and iv. of the hymn are set in their original form. The intervening stanzas are paraphrased. A. T. B. Soli.
78
c. 1740 (or after 1734) Fourteenth S. after Trinity.
Jesu, der du meine Seele.
Johann Rist (arranged by ?Picander).
Choral Cantata. Stanzas i. and xii. of the hymn are set in their original form. Four lines of Stanza x. are inserted into the last Recitativo.
138
c. 1740 (or earlier). Fifteenth S. after Trinity.
Warum betrübst du dich, mein Herz.
?Hans Sachs and ?Picander.
Choral Cantata. Stanzas i., ii., iii. of the hymn are set in their original form. Rest of libretto original. A. T. B. Soli.
114
c. 1740. Seventeenth S. after Trinity.
Ach, lieben Christen, seid getrost.
Johannes Gigas (arranged).
Choral Cantata. Stanzas i., iii., vi. of the hymn are set in their original form. The other stanzas are paraphrased in the remaining movements.
96
c. 1740. Eighteenth S. after Trinity.
Herr Christ, der ein’ge Gottes-Sohn.
Elisabethe Cruciger (arranged by ?Picander).
Choral Cantata. Stanzas i. and v. of the hymn are set in their original form. The intervening stanzas are paraphrased in the Recitativi and Arias.
130
c. 1740. Feast of St. Michael the Archangel.
Herr Gott, dich loben alle wir.
Paul Eber (arranged).
Choral Cantata. Stanzas i., xi., xii. (in score only) of the hymn are set in their original form. The remaining stanzas are paraphrased.
50
c. 1740. Feast of St. Michael the Archangel.
Nun ist das Heil und die Kraft.
Revelation xii 10.
Rev. xii. 10; a single Bible passage. A Motet. Cf. No. 118 (c. 1737).
48
c.1740. Nineteenth S. after Trinity.
Ich elender Mensch, wer wird mich erlosen (Rom. vii. 24).
?Picander.
Romans vii. 24; Stanza iv. of the anonymous hymn, “Ach Gott und Herr”; Stanza xii. of the anonymous hymn, “Herr Jesu Christ, ich schrei zu dir”; rest original. A. T. Soli.
180
c. 1740. Twentieth S. after Trinity.
Schmucke dich, O liebe Seele.
Johann Franck (arranged).
Choral Cantata. Stanzas i., iv., ix. of the hymn are set in their original form. The remaining stanzas are paraphrased.
38
c. 1740. Twenty-first S. after Trinity.
Aus tiefer Noth schrei ich zu dir (Psalm cxxx.).
Luther (arranged by ?Christian Weiss, junr.).
Choral Cantata. Stanzas i. and v. of the hymn are set in their original form. The intervening stanzas are paraphrased.
115
c. 1740. Twenty-second S. after Trinity.
Mache dich, mein Geist, bereit.
Johann Burchard Freystein (arranged by ?Picander.
Choral Cantata. Stan
zas i. and x. of the hymn are set in their original form. The intervening ones are paraphrased.
139
c. 1740. Twenty-third S. after Trinity.
Wohl dem, der sich auf seinen Gott.
Johann Christoph Rube (arranged).
Choral Cantata. Stanzas i. and v. are set in their original form. The intervening ones are paraphrased.
26
c. 1740. Twenty-fourth S. after Trinity.
Ach wie fluchtig.
Michael Franck (arranged by ?Picander).
Choral Cantata. Stanzas i. and xiii. of the hymn are set in their original form. Stanzas ii.-xii. are paraphrased.
†90
c. 1740. Twenty-fifth S. after Trinity.
Es reifet euch ein sohrecklich Ende.
?Picander.
Stanza vii. of Martin Holler’s hymn, “Nimm von uns, Herr, du treuer Gott”; rest of libretto original. A. T. B. Soli.
62
c. 1740 (after 1734). First S. in Advent.
Nun komm, der Heiden Heiland.
Luther (arranged by ?Picander).
Choral Cantata. Stanzas i. and viii. are set in their original form. The intervening stanzas are paraphrased.
91
c. 1740. Christmas Day.
Gelobet seist du, Jesu Christ.
Luther (arranged by ?Picander).
Choral Cantata. Stanzas i., ii., vii. of the hymn are set in their original form. The remaining stanzas are paraphrased.
110
Unser Mund sei voll Lachens (Psalm cxxvi. 2).
After 1734. Christmas Day. Has older instrumental material.
?Christian Weiss, senr. Schweitzer (ii. 343) suggests Picander.
Psalm cxxvi. 2, 3; Jeremiah x. 6; St. Luke ii. 14; Stanza v. of Caspar Fuger’s hymn, “Wir Christenleut’”; rest of libretto original.
†57
c. 1740. Feast of St. Stephen.