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BACH'S CHORALS PART I THE HYMNS AND HYMN MELODIES OF THE " PASSIONS" AND ORATORIOS "A httle volume on the sources of the Chorales, the utility of which is out of all proportion to its modest bulk." --Mr Ernest Newman m the Birmingham Post. "An invaluable work of reference."--Guardian. "A great mass of interesting information, collected from all available sources, and brought together for the first time in this convenient form."--Yorkshzre Post. "This useful work of reference."--Muszcal Times. "The result of an extenswe amount of research and erudltion."--Standard. "A careful piece of musical archaeological enquiry, done with thoroughness and care."--Scotsman. "A scholarly pmce of work."--Oxford ll[agazine. "An invaluable volume of reference, and as such it will qmckly become a standard work."--Music Student. "A perfect storehouse of informatmn.'_--gusical News. PART II! THE CHORALS OF THE ORGAN WORKS (In the Press) BACH'S CHORALS CAMBRIDGE UNIVERSITY PRESS C. F. CLAY, MANAGER 1London: FETTER LANE, E.C. ]E_itfl3tt_gIj: ioo PRINCES STREET i_¢_ _or_: G P. PUTNAM'S SONS _ombat_, _;alrutta _n_ _tlra_;: MACMILLAN AND CO., LTV. • _m_te: J. M. DENT AND SONS, LTD. _ak_0: THE MARUZEN-KABUSHIKI-KAISHA All rlKhls reserved / BACH'S CHORALSj J BY CHARLES SANFORD TERRY PART II THE HYMNS AND HYMN MELODIES OF THE CANTATAS AND MOTETTS Cambridge : at the University Press I917 r_12 i PREFATORY NOTE N melodiesPart I of ofthisthework" Passions"the Hymnsand andOratoriosHymn have been dealt with. In the present volume those of the Cantatas and Motetts are considered. The Hymn melodies of the Organ Works are reserved for Part [I I. The author approaches the Chorals from the historical rather than an aesthetic standpoint. His object is to reveal the origin and authorship - of the Hymns and Hymn melodies which, like jewels, decorate Bach's concerted Church music. " The melodies are printed here in their earliest form and, where possible, Bach's variations of them :L are traced to an earlier tradition or attributed to himself. In similar manner, the text of his Hymn stanzas, as printed by the Bachgesellschaft, has been collated with the originals in Philipp Wackernagel's Das deutsche Kirclaeldied vo_ der altesten Zeit his '- zu Anfang des X VIlJahrhunderts (Leipzig, 5 vols. r (z j ,% 'G vi 1864-77) or Albert Fischer and W. Tiimpel's Das deutsche evangelische Kirchenlied des siebzeknten Jahrkunderts (Gtitersloh, 19o4-16 ). The few Hymns which are not in those collections are marked with an asterisk in the following pages. The author has not had the opportunity to examine their original texts elsewhere. For the help of students and others the author, on the first occurrence of every Choral melody, states where Bach uses it elsewhere in his concerted Church music and Organ works 1. Thus, Bach's treatment of a particular tune can be studied ex- haustively. Since all but a few of the Cantatas are published only with German texts, it has seemed advisable to provide an Appendix of translations of the Hymn stanzas, upwards of two hundred and fifty in number, which Bach uses in the Cantatas and Motetts. Wherever it is available, the text of Novello & Co.'s and Messrs J. & W. Chester's Editions has been used, with the permission of the two firms. Six melodies that occur in the " Passions" and Oratorios are not found in the Cantatas or Motetts. They are printed in an Appendix. This volume thereforocontains all the Choral tunes used by Bach in his concerted Church music. a The references throughout are to Novello's Ed_taon of Bach's Organ Works, Books xv-xlx. vii In the Introduction, besides other topics relative to the subject of this work, there will be found a section on Bach's original Hymn tunes. The subject is one which hitherto has not received adequate attention. Schweitzer does not deal with it, and Spitta's chapter is unreliable. The author thanks the Rev. James Mearns, Mr Herbert Thompson, Mr Ernest Newman, and especially Mr Ivor Atkins, for the valuable help they have given him. He also acknowledges material aid from the Carnegie Trust for the Uni- versities of Scotland towards the publication of this work. C. S. T. KING'S COLLEGE_ OLD ABERDEEN, January, I917. CONTENTS PAGE PREFATORY NOTE V INTRODUCTION I The Cantatas I The Choral Cantatas 26 The Choral Fantasia 35 The Sim_le Choral 37 The Embellished Choral 38 The Extended Choral 4 ° The Unison Choral 41 The Aria Choral 4I Tlze Dlalogus Choral 42 The Moletts 44 The Hymns of the "Passzons," Oratorios, Cantatas, and Motegts. 46 The Hymn Tunes used by Bach . 56 Bach's original Hymn Tunes 67 THE CANTATAS I29 THE UNFINISHED CANTATAS 477 THE CANTATAS OF DOUBTFUL AUTHENTICITY 479 THE MOTETTS 483 APPENDIX I. Hymn Melodies that occur in the "Passions" and Oratorios, but are not found in the Cantatas and Motetts 49t APPENDIX II. Translations 497 APPENDIX III. The Original Texts of Bach's Ora- torios, "Passions," Masses, Cantatas, and Motetts 573 MELODIES PAGE A solls ortus cardlne (I537) 367 Ach Gott und Herr (I625 & I655 ) 237 Ach Gott, vom Himmel sieh darein (1524) 132 Ach wie fluchtig (I652 & 166I) . 193 Ainsi qu'on oit le cerf bruire (1542) . I64 Alle Menschen mussen sterben (1652 & x715) 434, 435 Allein Gott in der Hoh' sei Ehr' (I539) 3o5 Allein zu dir, Herr Jesu Christ (c. 1541 & I545) 2o5 Also hat Gott die Welt geliebt (I682) 269 Auf meinen lieben Gott (I6O9) I42 Aus tlefer Noth schrei ich zu dlr (1524) 213 Bleiches Anthtz, sel gegrusset (i686) . 218 Christ ist erstanden (I535) . 265 Christ lag in Todesbanden (I524) I37, 138 Christ unser Herr zum Jordan kam (I524) 149 Christe, du Lamm Gottes (I557). 188 Christum wlr sollen loben schon (1524) 368 Christus, der ist mein Leben (I6o9) 326 Christus, der uns sehg macht (153I & 1598) 491 Da Christus geboren war (1544) . 465 Danket dem Herrn, heut und allzeit (I594) 145 Das neugebor'ne Kindeleln (16o9) 369 Die Wollust dieser Welt (I679) • 231 Dies slnd die hefi'gen zehn Gebot' (I524) • 287 Du Friedefurst, Herr Jesu Christ (16oi) 268 Du, O sch6nes Weltgeb_.ude (I649) 245 Dui'ch Adams Fall ist ganz verderbt (I535) I78 Ein Kind geborn zu Bethlehem (I543 & 1553) 26I, 262 Ein' feste Burg (1535) • 297 Einen guten Kampf hab' lch (I713) 218 Erhalt' uns, Herr, bel delnem Wort (1543) 147 xi PAGE Ermuntre dlch, mein schwacher Geist (I64I) I58 Erschlenen ist der herrhch' Tag (I56o) 266 Erstanden ist der heil'ge Christ (1555) 267 Es ist das Hell uns kommen her (I524) 154 Es ist genug (1662) 253 Es sind doch selig alle (I525) 492 Es wolf uns Gott genadig sein (1525) 271 Freuet euch, ihr Christen alle (1646) • 220 Gelobet seist du, Jesu Christ (1524) 257 Gieb unsern Fursten (I566). 226 Gloria in excelsls Deo (I545) 305 Gott des Himmels und der Erden (I642 & 1687) 493 Grates nunc omnes reddamus (I524) • 257 Hast du denn, Lmbster, dem Angesicht (1665). 247 Helft mir Gott's Gute preisen (I575 [I569]) i6o Herr Christ, der einig' Gott's Sohn (1524). 186 Herr Gott dich loben wlr (I535) I73, 365, 366 Herr, ich habe missgehandelt (1649) • 435 Herr Jesu Christ, du hochstes Gut (I593). 239 Herr, wie du willt, so schick's mit mir (1525) . 426 Herzlich lieb hab' ich dich, O Herr (1577) 417 Herzlich thut reich verlangen (1601) . 395 Herzliebster Jesu, was hast du verbrochen (I64o) 494 Hilf mir, Herr Jesu, weil ich leb' (16o2) 134 "Ich dank' dir, heber Herre (1662) 212 Ich freue reich in dir (c. I735) 391, 392 Ich hab' mein Sach' Gott helmgestellt (I6O9) 344 Ich hort ein Fraulein klagen (I549) . I86 Ich ruff zu dir, Herr Jesu Christ (I535) 451 Ich weiss mlr ein Roslein hubsch und fein (1589) 343 I1 n'y a icy celluy (c. I551). 385 In dich hab' lch gehoffet, Herr (I58I) 242 In Gottes Namen fahren wlr (1536) . 287 Ist Gott meln Schild und Helfersmamx (t694) . 3o7 Jesu, der du meine Seele (I64I). 434 xii PAG_ Jesu Kreuz, Leiden und Pein (I6o9) . 43I Jesu, meme Freude (i653) . 260 Jesu, nun sei gepreiset (1591) 222 Jesus, meine Zuversicht 0653 ) 412 Komm, Gott Sch6pfer, heiliger Geist (i524 & i535). 479 Komm, hefliger Geist, Herre Gott (I535) . 25o Komm, Jesu, komm 489 Kommt her zu mir, spncht Gottes Sohn (I53o) 283 L:ebster Gott, wann werd' ich sterben (I713) 15I Liebster Immanuel, Herzog der Frommen (I679) 372 Lob' Gott getrost mit Singen (I544) . 2II Lobt Gott, ihr Christen alle gleich (I554) . 4i 9 Mach's mlt mir, Gott, nach deiner Gut' (I628) . 402 Meine Hoffnung stehet feste (I68O) 218 Meinen Jesum lass' ich nicht (I659) . 274 Mit Fried' und Freud' ich fahr' dahin (I524) 302 Nun bitten wir den heiligen Geist (1524) . 445 Nun danket alle Gott (1648) 293 Nun freut euch, lieben Christen g'mein (I535) . 277 Nun komm, der Heiden Heiland (1524) 208 Nun lasst uns Gott dem Herren (r575 & 1587) 295 Nun lob', meln' Seel', den Herren (154o) . :75 O Ewigkeit, du Donnerwort (I653) I8I O Gott, du frommer Gott (1693) I9o . O grosser Gott von Macht (I632) 233 O Herre Gott, dem gotthch Wort (1527) , 46z O Jesu Christ, mein's Lebens Licht (i625) 134 O Lamm Gottes unschuldig (1542 & _545) 495 O stilles Gottes Lamm (I738) 392 O Welt, ich muss dich lassen (I539) I67 On a beau son maison bastir (I551) . 379 Or sus, serviteurs du Seigneur (I551) 385 Puer natus in Bethlehem (1543 & 1553) 261, 262 Schmucke dich, O liebe Seele (1649). 457 Sch6nster Immanuel, Herzog der Frommen (1698) . 372 xiii PAGIt. Singen wir aus Herzensgrund (x589) . 466 Straf mmh nicht m deinem Zorn (I694) 359 Valet will ich dir geben (I614) 328 Vater unser im Himmelrelch (I539) 312 Veni Redemptor gentmm (1531) 2o8 Venus du und dein Kind (I574) .
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    Buon Natale Laudate Singers & Baroque Chamber Orchestra Lars Kaario, Conductor Livestream December 13, 2020 * Pre-Concert Music – see next page for detail Magnificat, RV610 Antonio Vivaldi 1678-1741 1. Magnificat Chorus 2. Et exultavit Soprano, alto, tenor & chorus Soloists – Elizabeth, Monica, Kilian 3. Et misericordia eius Chorus 4. Fecit potentiam Chorus 5. Deposuit potentes Chorus 6. Esurientes Soprano duet – Laurel & Elizabeth 7. Suscepit Israel Chorus 8. Sicut locutus est Chorus 9. Gloria Patri Chorus Soprano: Laurel Curley, Laura Kaario, Elizabeth Petersen Alto: Alana Davies, Monica Teng Tenor: Kilian Benson, Nathan Kaleta Bass: Alec Faris, Preston Lee 20-MINUTE INTERLUDE see next page for detail Gloria in D major, RV589 Antonio Vivaldi 1678-1741 1. Gloria in excelsis Chorus 2. Et in terra pax Chorus 3. Laudamus te Soprano duet – Cassie & Isabella 4. Gratias agimus tibi Chorus 5. Propter magnam gloriam tuam Chorus 6. Domine Deus Soprano aria – Cassie 7. Domine Fili unigenite Chorus 8. Domine Deus, Agnus Dei Alto (Jessica) and Chorus 9. Qui tollis peccata mundi Chorus 10. Qui sedes ad dexteram Patris Alto aria – Maria 11. Quoniam tu solus sanctus Chorus 12. Cum Sancto Spiritu Chorus Soprano: Cassie Karvonen, Isabella Kershaw Alto: Jessica De Gaust, Maria Golas Tenor: Kilian Benson, Nathan Kaleta Bass: Nick Ainsworth, Andrew Wilson Instrumentalists Nancy DiNovo, violin Andrea Siradze, violin Sarah Kwok, viola Brian Mix, cello Marea Chernoff, oboe Mark D’Angelo, trumpet Michael Molnar, organ *Post-Concert Music – see next page for detail 2 Please enjoy music from our previous recordings before the concert begins, during the 20-minute interlude while the venue’s air is exchanged for musicians’ safety, and at the end of the concert.
  • NEA-Annual-Report-1992.Pdf

    NEA-Annual-Report-1992.Pdf

    N A N A L E ENT S NATIONAL ENDOWMENT FOR~THE ARTS 1992, ANNUAL REPORT NATIONAL ENDOWMENT FOR!y’THE ARTS The Federal agency that supports the Dear Mr. President: visual, literary and pe~orming arts to I have the honor to submit to you the Annual Report benefit all A mericans of the National Endowment for the Arts for the fiscal year ended September 30, 1992. Respectfully, Arts in Education Challenge &Advancement Dance Aria M. Steele Design Arts Acting Senior Deputy Chairman Expansion Arts Folk Arts International Literature The President Local Arts Agencies The White House Media Arts Washington, D.C. Museum Music April 1993 Opera-Musical Theater Presenting & Commissioning State & Regional Theater Visual Arts The Nancy Hanks Center 1100 Pennsylvania Ave. NW Washington. DC 20506 202/682-5400 6 The Arts Endowment in Brief The National Council on the Arts PROGRAMS 14 Dance 32 Design Arts 44 Expansion Arts 68 Folk Arts 82 Literature 96 Media Arts II2. Museum I46 Music I94 Opera-Musical Theater ZlO Presenting & Commissioning Theater zSZ Visual Arts ~en~ PUBLIC PARTNERSHIP z96 Arts in Education 308 Local Arts Agencies State & Regional 3z4 Underserved Communities Set-Aside POLICY, PLANNING, RESEARCH & BUDGET 338 International 346 Arts Administration Fallows 348 Research 35o Special Constituencies OVERVIEW PANELS AND FINANCIAL SUMMARIES 354 1992 Overview Panels 360 Financial Summary 36I Histos~f Authorizations and 366~redi~ At the "Parabolic Bench" outside a South Bronx school, a child discovers aspects of sound -- for instance, that it can be stopped with the wave of a hand. Sonic architects Bill & Mary Buchen designed this "Sound Playground" with help from the Design Arts Program in the form of one of the 4,141 grants that the Arts Endowment awarded in FY 1992.
  • The Neumeister Collection of Chorale Preludes of the Bach Circle: an Examination of the Chorale Preludes of J

    The Neumeister Collection of Chorale Preludes of the Bach Circle: an Examination of the Chorale Preludes of J

    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
  • Bach Christmas Oratorio Prog Notes

    Bach Christmas Oratorio Prog Notes

    Johann Sebastian Bach Christmas Oratorio Programme Notes Johann Sebastian Bach’s Christmas Oratorio was composed in 1734. The title page of the printed libretto, prepared for the congregation, notes “Oratorio performed over the holy festival of Christmas in the two chief churches in Leipzig.” The oratorio was divided into six parts, each part to be performed at one of the six services held during the Lutheran celebration of the Twelve Nights of Christmas. Parts I, II, IV and VI were each performed twice, at St. Thomas and St. Nicholas in alternate morning and afternoon services. Parts III and V, written for days of lesser significance in the festival, were performed only once at St. Nicholas. The music would have served as the “principal music” for the day, replacing the cantata that would otherwise have been performed. The structure of the Christmas Oratorio is similar to that of Bach’s Passions: Bach presents a dramatic rendering of a biblical text, largely in the form of secco recitative (recitative with simple continuo accompaniment) sung by an Evangelist, and adds to it comments and reflections of both an individual and congregational nature, in the form of arias, choruses, and chorales. The biblical text in question is the story of the birth of Jesus through to the arrival of the three Wise Men, drawn from the Gospels according to Luke and Matthew. The narrative is by its very nature less dramatic than that of the Passions, so Bach introduces a number of arioso passages: accompanied recitatives in which the spectator enters the story. The bass soloist, for example, speaks to the shepherds, and the alto to Herod and to the Wise Men, outside the narrative proper, yet intimately involved with it.