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Bach's Chorals Part I

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BACH'S CHORALS PART I THE HYMNS AND HYMN MELODIES OF THE "PASSIONS" AND MOTETTS gfl. xvi + 74. Price 6s, 6d. net. "An invaluable work of reference.'_--Guardian. "This useful work of reference. '_--,gu_cal Times. "The result of an extensive amount of research and erudition."--Slandard. "A careful piece of archaeological enquiry."--Scolsman. "A scholarly piece of work."--Oxford MaKazin¢. "An invaluable volume of reference...wdl quickly become a standard work."--3/Zu_c StudenL "A perfect storehouse of information."--Musical ATe_s. PART II THE HYMNS AND HYMN MELODIES OF TIIE CANTATAS AND MOTETTS Pp. xiv+ 615. Price 24s. net. "A monumental and exhaustive study..,a notable contri- bution to musical literature...of permanent value, and hardly likely to be superseded.'--Musical Times. "A perfect encyclopaedia of information on its subject." Yorkshire Post. "Its information is extraordinarily full and comprehen- sive."--Musical News. "This valuable work of reference."--Mthenaeum. "An honour to British scholarship and research." Musical Opinion. "The book is in detail one of which both author and pub- hsher may m every way be proud."-- The Times. "The book must be placed in our bookcases next to Grove."--Music Student. "A work which no student of music on the historical side should be without."--New Statesman. "A real triumph of laboriousness, quite indispensable to the serious student of the subject."--Oxford Magazine. "An admirable and scholarly addition to musical litera- ture. --Cambridge Review. BACH'S CHORALS CAMBRIDGE UNIVERSITY PRESS C. F. CLAY, MANAGZR LONDON : FETTER LANE, E.C.4 NEW YORK THE MACMILLAN CO. CALCUTTA MACMILLAN AND CO.,L'rD. BOMBAYMADRAS } TORONTO : THE MACMILLAN CO. OF CANADA, LTD. TOKYO' MARUZEN-KABUSHIKI-KAISHA ALL RIGHTS RESERVED /BACH'S CHORALS/_- BY CHARLES SANFORD TERRY LXTT.D. CANTAB. PART III THE HYMNS AND HYMN MELODIES OF THE ORGAN WORKS Cambridge : at the University Press I92I V i , T "No one who is familiar with the work of other cen- turies will contradict or hold my statement exaggerated, that Bach cannot be named except in tones of rapture, and even of devout awe, by those who have learnt to know him. We may discover and lay bare the secrets of his technique. But his power to inspire into it the breath of genius, the perfection of life and charm that moves us so powerfully, even in his slightest works, must always remain extraordinary and insoluble." JOHANNNIKOLAUSFOR_:_L. PREFATORY NOTE "('_F all Bach's works, the Organ Chorals are _-J probably the least known, even to organists," Mr Newman remarks in Novello's edition of the OrgelbucMein. "Until recently," another English writer 1 confesses, "not more than one organist in a hundred knew what Bach was driving at in the Choral Preludes as a whole. We were confronted with collections of pieces bearing German titles, with no hint as to pace, power, or registration. Sometimes the thematic basis could be identified and followed, but more often not. In many cases it was even impossible to say whether the music was intended to be joyful or sad. We need not be surprised that the puzzle was laid aside in favour . of Preludes and Fugues that carried their message - on their face." _' In large measure English neglect of the Choral .. Preludes is due to unfamiliarity with the melodies and hymns on which they are founded, whereas, by reason of the intimate relation between them and Bach's music, a knowledge of both is imperative. No adequate attempt hitherto has been made to .-_ remove this serious impediment by placing the text J of the hymns before English readers, systematically . exploring them for guidance to Bach's treatment 1 Mr Harvey Grace in TAt ,¢trusical Times for October I92o , p. 67z. -cj vi of their melodies, and expounding the form and his- torical antecedents of the tunes. The author believes that the following pages will be found to provide the necessary apparatus for a neglected study. The author's discovery of Bach's early use of Christian Friedrich Witt's Psalmodia sacra (I-715) opens a new field of exploration and has produced important results. It has at length forced the secret of its design and purpose from the OrgelbucMein, a problem which German scholarship, persistently and minutely concentrated on Bach's art for more than sixty years, either neglected or found insoluble. It affords, moreover, with some approximation to accuracy, the means to date the Choral Preludes ac- cording as Bach's version of their melodies conforms to or differs from Witt's--Le. Gotha-Weimar--use. It is only necessary to add that the present volume repeats the method of its predecessors. The source of the hymns and melodies is stated: the tunes are given in their earliest published form: a translation of every hymn used by Bach is provided. Biographical and bibliographical information is fur- nished concerning such authors, composers, hymns, and tunes as do not occur in the earlier volumes of this work. In Part II an Appendix was provided disclosing the locus of the MS. and Autograph texts of the Oratorios, -Passions, Masses, Cantatas, and Motetts. Similar information is provided here re- garding the Choral Preludes. vii References to the Choral Preludes are made throughout to Novello's Edition (Books xv-xix). Owners of other Editions can easily adapt these pages to their use by means of the comparative Table provided on pages 2-I I. It would have been agreeable to collate the Schirmer Edition, prepared by C. M. Widor and Albert Schweitzer: its volumes vI-vIII are to contain the Choral Preludes, but are not yet published. The present volume concludes an arduous labour. To those who have aided him by counsel and cor- rection, and particularly his friends Sir Ivor Atkins and Dr W.G. Whittaker, the author makes his sincere acknowledgments. He cannot fail to add a note of warm gratitude to the Syndics of the Cambridge University Press for material aid towards the publi- cation of this volume and for unfailing interest in an undertaking whose completion owes much to their encouragement. C. S. T. KING'S COLLEGE, OLD AB_-RD_.N. July I921. CONTENTS PAGE PREFATORY NOTE v INTRODUCTION The Organ Chorals . I The Texts 12 The OrgelbucMein . I8 The Clavieriibunff, Part III 66 Schtibler's Sechs Chorale 7o The Canonic Variations on "Vom Himmel hoch" 75 The AcMzehn Chorgile 78 MELODIES 8 3 INDEX 347 ix MELODIES PAGE Ach bleib' bei uns, Herr Jesu Christ 83 Ach Gott und Herr 86 Ach wie fltichtig 89 Alle Menschen mtissen sterben 93 Allein Gott in der H6h' sei Ehr' 96 An Wasserfliassen Babylon IOI Auf meinen lieben Gott, or, Wo soil ich fliehen bin 34 I Aus tiefer Noth schrei ich zu dir . io6 Christ, der du bist der helle Tag . lO9 Christ ist erstanden 113 Christ lag in Todesbanden I x5 Christ unser Herr zum Jordan kam I2O Christe, du Lamm Gottes I24 Christum wir sollen loben schon . I26 Christus, der uns selig macht x29 Da Jesus an dem Kreuze stund I33 Das alte Jahr vergangen ist . 137 Das Jesulein soil doch mein Trost i4 o Der Tag, der ist so freudenreich . I43 Dies sind die heil'gen zehn Gebot' i46 Durch Adams Fall ist ganz verderbt i5o Ein' feste Burg ist unser Gott i53 Erbarm' dich mein, O Herre Gott i55 Erschienen ist der herrliche Tag . 158 Erstanden ist der heil'ge Christ 16o Es ist das Heil uns kommen her . 166 Es ist gewisslich an der Zeit, or, Nun frent euch, lieben Christen g'mein 266 Gelobet seist du, Jesu Christ 169 Gott, dutch deine Gtite, or, Gottes Sohn ist kommen . I73 Gottes Sohn ist kommen, or, Gott, durch deine Gute . x73 x PAGE Helft mir Gott's Gute preisen I77 Herr Christ, der ein'ge Gottes-Sohn, or, Herr Gott, nun sei gepreiset 182 Herr Gott dich loben wir I85 Herr Gott, nun sei gepreiset, or, Herr Christ, der ein'ge Gottes-Sohn. 182 Herr Gott, nun schleuss den Himmel auf x87 Herr Jesu Christ, dich zu uns wend' i9i Herzlich thut mich verlangen I95 Heut' triumphiret Gottes Sohn i98 Hilf Gott, dass mir's gelinge. 2oi Ich hab' mein Sach' Gott heimgestellt 2o5 Ich ruf' zu dir, Herr Jesu Christ . 2o9 In dich hab' ich gehoffet, Herr 2xI In dir ist Freude 2i 5 In dulci jubilo 220 Jesu, meine Freude 224 Jesus Christus, unser Heiland, Der den Toc 227 Jesus Christus, unser Heiland, Der von uns. 23o Jesus, meine Zuversicht 236 Komm, Gott, Sch6pfer, heiliger Geist . 239 Komm, heiliger Geist, Herre Gott 242 Kommst du nun, Jesu, vom Himmelherunter aufErden? 246 Kyrie, Gott Vater in Ewigkeit 248 Liebster Jesu, wir sind hier . 25i Lob sei dem allm_.chtigen Gott 255 Lobt Gott, ihr Christen alle gleich 258 Meine Seele erhebt den Herren 26o Mit Fried' und Freud' ich fahr' dahin 262 Nun danket aUe Gott 264 Nun freut euch, lieben Christen g'mein, or, Es ist gewisslich an der Zeit . 266 Nun komm, der Heiden Heiland . 272 O Gott, du frommer Gott 275 0 Lamm Gottes unschuldig . 28_ xi PAGE O Mensch, bewein' dein' Siande gross 284 Puer natus in Bethlehem 286 Schmiacke dich, O liebe Seele 289 Sei gegrusset, Jesu giitig 292 Valet will ich dir geben 297 Vater unser ira Himmelreich 300 Vom Himmel hoch da komm ich her 304 Vom Himmel kam der Engel Schaar 308 Von Gott will ich nicht lassen 31o Vor deinen Thron tret ich hiemit, or, Wenn wlr in h6chsten Nothen sein 3x6 Wachet auf, ruft uns die Stimme . 314 Wenn wit in h6chsten N6then sein, or, Vor deinen Thron tret ich hiemit.
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    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2002 "The eumeiN ster collection of chorale preludes of the Bach circle": an examination of the chorale preludes of J. S. Bach and their usage as service music and pedagogical works Sara Ann Jones Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Jones, Sara Ann, ""The eN umeister collection of chorale preludes of the Bach circle": an examination of the chorale preludes of J. S. Bach and their usage as service music and pedagogical works" (2002). LSU Doctoral Dissertations. 77. https://digitalcommons.lsu.edu/gradschool_dissertations/77 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE NEUMEISTER COLLECTION OF CHORALE PRELUDES OF THE BACH CIRCLE: AN EXAMINATION OF THE CHORALE PRELUDES OF J. S. BACH AND THEIR USAGE AS SERVICE MUSIC AND PEDAGOGICAL WORKS A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music and Dramatic Arts Sara Ann Jones B. A., McNeese State University
  • THE ARTS of PERSUASION (Revised)

    THE ARTS of PERSUASION (Revised)

    The Arts of Persuasion: Musical Rhetoric in the Keyboard Genres of Dieterich Buxtehude Item Type text; Electronic Dissertation Authors Anderson, Ron James Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 27/09/2021 20:06:37 Link to Item http://hdl.handle.net/10150/242454 THE ARTS OF PERSUASION: MUSICAL RHETORIC IN THE KEYBOARD GENRES OF DIETERICH BUXTEHUDE by Ron James Anderson ______________________________ Copyright © Ron James Anderson 2012 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2012 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Ron James Anderson entitled “The Arts of Persuasion: Musical Rhetoric in the Keyboard Genres of Dieterich Buxtehude," and recommend that it be accepted as fulfilling the requirements for the degree of Doctor of Musical Arts. _________________________________________________________Date: 6/25/12 Rex Woods _________________________________________________________ Date: 6/25/12 Paula Fan _________________________________________________________ Date: 6/25/12 Tannis Gibson Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copy of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the requirement.
  • Bach Academie Is Een Initiatief Van Philippe Herreweghe En Collegium Vocale Gent in Samenwerking Met Desingel, Bozar En Concertgebouw Brugge P

    Bach Academie Is Een Initiatief Van Philippe Herreweghe En Collegium Vocale Gent in Samenwerking Met Desingel, Bozar En Concertgebouw Brugge P

    Concerten, open repetities, masterclasses en lezingen over Bachs fascinerende relatie tot de dood. Bach Academie is een initiatief van Philippe Herreweghe en Collegium Vocale Gent in samenwerking met deSingel, Bozar en Concertgebouw Brugge p. 6 Programmaschema p. 9 Een nieuw initiatief voorwoord door Philippe Herreweghe p. 10 Luthers geloof als achtergrond van Bachs houding tegenover de dood door Peter Schmidt p. 15 do 2 nov dagoverzicht p. 17 vr 3 nov dagoverzicht p. 18 20.00 uur Koor en Orkest Collegium Vocale Gent olv. Philippe Herreweghe / Tombeau p. 25 za 4 nov dagoverzicht p. 26 14.00 uur Philippe Pierlot . Rainer Zipperling . Pierre Hantai p. 28 15.30 uur Projectkoor olv. Christoph Siebert / Mit Weinen p. 34 17.00 uur Pierre Hantai p. 36 20.00 uur Ricercar Consort olv. Philippe Pierlot / Actus Tragicus p. 45 zo 5 nov dagoverzicht p. 46 12.00 uur Ensemble Explorations p. 48 15.30 uur Blindman & Projectkoor olv. Christoph Siebert deSingel internationaal Kunstcentrum Desguinlei 25 p. 52 15.00 uur Hanneke Paauwe B-2018 Antwerpen T +32 (0)3 248 28 28 p. 52 17.00 uur Gerrit Komrij, Roel Dieltiens en gasten [email protected] p. 54 18.30 uur Christine Busch www.desingel.be p. 56 20.00 uur Koor en Orkest Collegium Vocale Gent olv. Philippe Herreweghe / Du süße Todesstunde teksten programmaboekje Philippe Herreweghe, Peter Schmidt, Diederik Verstraete, Villanella coördinatie programmaboekje deSingel gelieve uw GSM uit te schakelen! Cd’s & boeken Tijdens de Bach Academie worden cd’s en boeken te koop aangeboden door ’t KLAverVIER, Kasteeldreef 6, Schilde, 03 384 29 70 p.