|
Index to References to Bach Cantatas & Other Vocal Works
Bach Compendium
Work Group F: Chorales and Sacred Songs |
|
Group Description |
|
Work Group F comprises the four-part chorales, arranged alphabetically according to the names of their melodies, together with the chorales and sacred songs for voice and basso continuo, arranged according to the order in which they appear in their principal sources. |
|
Four-Part Chorales |
|
The listing of the four-part chorales attempts to provide not only a complete inventory of all chorale settings (whether transmitted in collections or individually), but also an overview of the entire genre in the broadest sense. The following organizational principles apply:
1. All chorale settings transmitted outside of the vocal compositions of Work Groups A-E are entered with incipits and source identifications.
2. All chorales contained in Work Groups A-E, including settings with obbligato instruments, are listed as cross-references only (with indications of chronology, meter, key, and - where applicable - alternate textual incipits, i. e., titles of chorale settings without text underlay). Musical incipits are not provided, except for those instances in which transposed and altered versions exist.
3. Organ chorales in cantional style from Work Group K have been similarly incorporated into this category, again by means of cross-references.
4. Chorales interpolated into recitatives and arias have not been included here and are recorded only in a special list (p. 1284).
5. The List (Synopsis) presents an alphabetical list of all chorale text incipits (first strophes only; for other strophes cf. the alphabetical index, p.1661ff.):
a) cantus firmi Fl-F213, according to the earliest melody sources;
b) cross-references to additional related texts as they appear in works of J.S. Bach.
References to singly transmitted chorale settings, F l.l - F 213.2, are integrated into this list of chorale titles.
This List (Synopsis) provides a complete index to all melodies in the entire complex of four-part chorales and provides cross-references to all relevant texts.
The numbers F l - F 213 refer only to the cantus firmi employed; individual settings are indicated by supplemental numbers, set off by a period (e.g., F 1.1).
Chorales transmitted siIigly → i. e., outside of Work Groups A-E - appear at the beginning of each series of entries for a particular cantus firmus, e.g., F2.1 = Ach Gott und Herr (BWV 255); F2.2 = Solls ja so sein (Al44/3 = BWV 48/3). The melodic index of the List (Synopsis) thus allows for the ready identification of these chorales.
Settings that are musically identical and differ only in their texts are distinguished by supplemental letters (e.g., F2.2a, F2.2b). |
|
Chorales and Sacred Songs with Basso Continuo |
|
This category consists of all chorale settings, arias, and songs notated in two parts (discant and figured bass), beginning with the repertoire of the two most important collections, from 1725 and 1736; an alphabetical index to the melodies (p. 1286) is also provided for these works. There follow entries for the lost collections, together with cross-references to those settings transmitted in connection with organ chorales. |
|
The Transmission, Origins, and Functions of the Chorales |
|
In the list of works cited in Bach's obituary (Dok III, p. 86), there is no mention of any chorale settings. In 1750, it would have been extremely difficult to survey the repertoire as a whole. Anthologies of selected works were prepared by J.L. Dietel around :1735 (Source R 18; → Z1) and F.W. Marpurg after 1750 (Dok III, No. 697), but the first attempt to gather all of Bach's four-part chorales began only after :1760 with Carl Philipp Emanuel Bach (Dok III, No. 723 and 753-754; → Z3) and was continued after :1771. by Johann Philipp Kirnberger (Dok III, No. 824).
A tendency toward building a large repertoire of chorales and compiling them in collections was already evident during Bach's years in Leipzig. There is some evidence that Bach used earlier chorale settings in newly-composed vocal works (e. g., C 2/2 = F 126.2a; A 77/11 = F 57.la), even though no corresponding "chorale book" has survived (~ F288 and F289). Nevertheless, the anthology of chorales gathered by Bach's pupil Dietel around :1735, and Bach's own participation in the Schemelli-Gesangbuch of :1736 point in the direction of such a compilation. It is possible that Bach himself was planning a printed collection as early as the :1730's, and it is conceivable that there may have been some connection with such similar contemporary projects as those by Christoph Graupner (Neues vermehrtes Darmstädtisches Choral-Buch, 1728) or Georg Philipp Telemann (his "Nearly Universal Protestant-Musical Song-Book, which (1.) Contains a great many old chorales, restored to their original melodies and modes, but at the same time (2.) Includes a great number of variants now in common use; also including (3.) The bass, indicated in such a way that one can play these songs with four voices throughout, to which end (4.) Figures have been added in the most careful manner; this book can be used, moreover, (5.) By both choir and chamber ensembles, and provides, lastly, (6.) More than 2,000 songs with more than 500 melodies," Hamburg 1730). Bach's collections of Choralgesänge published posthumously are most closely related in intent and function to G.P. Telemanns Lieder-Buch, in spite of the fundamental difference that Bach's feature four-part rather than two-part settings and often present several different harmonizations of the same melody.
The chorales notated in two p.nd four parts belong to what is essentially one and the same type of four-part, cantional-style setting, as seen in the following list of corresponding settings (of which F 24l/F l76.l and F2 50/F 47.1 appear in original sources): |
|
F217 = |
F214b/F70.1
F233/Fl04.1
F244/F177.1
F271/F114.1 |
F250 /F47.1
F236/F130.1
F245/Fl8.1
F273/F192.1 |
F218 /F156.1
F240/F174.1
F253/F173.1
F281/F142.1 |
F221 /F161.1
F241/F176.1
F255/F75.l
F283/F167.1 |
|
In several instances, four-part chorales were developed either in whole or in part from the outer voices of earlier settings found in such collections as the Andachts Zrmbeln by C. Peter, :1.655, the Neu Leipziger Gesangbuch by G. Vopelius, 1682 (→ F 57.1, F 107.1, and F 204.1), the Geist- und Lehrreiches Kirchen- und Hauß-Buch, Dresden 1694 (→ F 177.1), the Musicalische Kirch- und Haus-Ergötzlichkeit by Daniel Vetter, 1713 (→ F 131.1), and even a collection of chorale partitas by Johann Pachelbel from 1683 (F 8.1). In such instances, there may have been some connection with Bach's teaching method, in which chorale harmonization played an important role. Carl Philipp Emanuel Bach, writing in 1775, reported that his father's pupils "had to begin their studies by learning pure four-part thorough bass. He then proceeded to chorales: he would first add the bass himself and have his students devise the tenor and alto parts. Then he would teach them how to construct the bass line themselves... An introduction to chorales is without doubt the best method of learning how to compose, as far as harmony is concerned" (Dok III, p. 289; cf. also Bach Reader, P. 279).
Settings from the Clavier-Büchlein for Anna Magdalena Bach (→ F 214 - F 218) provide concrete evidence that at least some of the chorales transmitted under Bach's name are byproducts of his teaching and as such may incorporate the collaborative efforts of others as well. But it is not at all clear to what extent Bach, his pupils, and especially the editors of his published chorale collections may have altered pre-existsettings. In those cases in which the transmission seems uncertain, the appropriate settings have been entered under Work Group T.
It is impossible to draw strict distinctions between settings conceived for vocal forces and those conceived for instrumental ensembles, given the fact that in most cases we do not know what forces the original settings may have called for. Bass lines conceived for instruments are particularly evident in the Schemelli songs and their corresponding four-part arrangements (see the Synopsis, above), and in other chorales of the same type (e. g., F 89.1 or F 110.1).; The ambitus of the individual parts (bass line descending to D or C: e.g., F 155.1) and the nature of the part-writing often point to a chorale harmonization conceived either solely for a keyboard instrument (e. g., F 129.1 or F 211.1) or intended as an organ accompaniment. The practice of organ accompaniment for congregational chorale singing was widespread in the Thuringian-Saxon region as early as the 17th century and thus can iJe assumed to have been the practice in those locales in which Bach and his pupils lived and worked. |
|
The Hymnological References |
|
Cantus firmi are arranged according to their text incipits (in modernized orthography) and are cited, whenever possible, according to their numbering in J. Zahn's Die Melodien der deutschen evangelischen Kirchi1nlieder (1889-1893; = Z). Citations to the earliest source of any given melody in a Protestant hymnal ordimtrily follow those given by Zahn but do take into account new findings in the field (→ Literature: General a). Melodies that antedate the Reformation or were secular in origin are identified as such, with important melodic variants noted accordingly (e.g., F 44, F 115). The composer of a melody, if known, is named. Full title information for the hymnals and citations to the location of extant exemplars may be found in Das Deutsche Kirchenlied (DKL), Vol. 1, pt. 1: Verzeichnis der Drucke, Kassel, 1975 (= RISM, Series B, Vol. VIII/1).
Attributions for chorale texts written before 1700 follow those given in the text collections by P. WackernageL Das deutsche Kirchenlied von der ältesten Zeit bis zu Anfang des 17 Jahrhunderts (1864-1877; = W) or by A.F.W. Fischer and W. Tümpel Das deutsche evangelische Kirchenlied des 17.Jahrhunderts (1904-1916; = IT). The lack of any comparable collection of 18th-century texts - which Bach used less often - precludes corresponding references for later hymn-verses, in most cases. Citations can nevertheless be provided for some of the more widespread texts that are found in the Kirchenlieder-Lexikon (= KLL).
The historical roots of Bach's chorale settings are reflected in the provenance of the melodies and the texts. Bach's settings, to be sure, exhibit frequent variants in melodic and rhythmic detail from the earliest versions of cantus firm found in hymnals: these differences are due in part to local and regional practices reflected in contemporary hymnals '(e.g., F 9, F 31), in part to the composer's freedom to make such changes. The most important variants within the repertoire of the published hymnals are generally listed in Zahn. For more detailed citations to the various versions of the melodies used by Bach, see the Critical Reports of the NBA.
Of the hymnals in Bach's personal library, only one has survived: a reprint of the first hymnal of the Bohemian Brethren, EJn hubsch new Gesangbuch, Ulm 1538 (DKL 153804), edited in 1531 by Michael Weisse and housed today in the Euing Collection of the Glasgow University Library. The inventory of Bach's estate from 1750 includes no musical works but does cite, among the theological writings (Dok II p. 496), the hymnal Andächtiger Seelen geistliches Brand- und Gantz-Opfer, Leipzig 1697 (8 volumes, without the melodies), edited by Paul Wagner. The present location of Bach's copy, if it has survived. is unknown. Bach's collaboration in Georg Christian Schemelli's anthology, the Musicalisches Gesang-Buch, Leipzig 1736 (DKL 173613) F 219 - F 287, Werkgeschichte), on the other hand, is well documented.
Among the most important hymnals (with music) from Bach's immediate circle are: |
|
Auserlesenes Weinmarisches Gesangbuch, Weimar 1681 (DKL 168108)
Vollständiges Kirchen-Buch, Altenburg 1681 (DKL 168114)
Neu Leipziger Gesangbuch, ed. Gottfried Vopelius, Leipzig 1682 (DKL 168211)
Geist- und Lehr-reiches Kirchen- und Hauß-Buch, Dresden 1694 (DKL 169402)
Lüneburgisches Gesangbuch, 2nd edition, Lüneburg 1695 (DKL 169506), 3rd edition 1702 (DKL 170210)
Neu-vermehrtes ... Meiningisches Gesangbuch, Meiningen 1700 (DKL 170012)
Geist-reiches Gesang-Buch, editor Johann Anastasius Freylinghausen, 1st edition, Halle 1704 (DKL 170404); 8th edition 1714 (DKL 171405)
Neu-auffgelegtes Dreßdnisches Gesang-Buch, Dresden und Leipzig 1707 (DKL 170704)
Musicalische Kirch- und Haus-Ergötzlichkeit, editor Daniel Vetter, part I, Leipzig n. d. (DKL 1709 01), 2nd edition Dresden 1716 (DKL 171608); part II, Leipzig n.d. (DKL 171301)
Hoch-Fürstliches Sachsen-Weissenfelsisches Vollständiges Gesang- und Kirchen-Buch, Weißenfels n. d. (DKL 171202)
Psalmodia Sacia, editor Christian Friedrich Witt, Gotha 1715 (DKL 171509), new edition, Gotha und Leipzig n.d. (DKL 1720 04)
Glauben-schallende und Himmel-steigende Hertzens-Music, Leipzig 1719 (DKL 171912), new edition, Leipzig 1727 (DKL 172707) |
|
J.S. Bach provides the earliest source for a number of melodies: F 41, F 47 (= F 217), F 48, F 70 (= F 214), F 98, F 114 (= F 271), F 146 (= F 259), F 160, F 191, F 198, F 214, F 215, F 216, F 225, F 228, F 229, F 232, F 237, F 239, F 248, F 249, F 260, F 262, F 264, F 265, F 270, F 274, F 277, F 280, F 282, F 285 and F 286. It is possible that Bach may have been the composer of these melodies; yet he is specifically cited in only a single case, F 262 (di S. Bach D[irector]. M[usices] Lips[iensis].) Bach appears to have created the melodies of F 79, F 99, F 172, and F 190 by altering existing melodies. |
| |
|
Synopsis - List by Group and BC Number -Work Group F |
| |
|
|
|
|
Four-Part Chorales
List of Chorale Melodies and Texts |
|
BC |
BWV |
BGA |
NBA |
Year |
Title / Comments |
| |
|
|
|
|
Ach bleib bei uns, Herr Jesu Christ → F 35 |
|
F 1.1 |
254 |
XXXIX |
|
|
Ach Gott, erhör' mein Seufzen und Wehklagen |
|
F 2.1 |
255 |
XXXIX |
|
|
Ach Gott und Herr |
|
F 3 |
|
|
|
|
Ach Gott vom Himmel sieh darein |
| |
|
|
|
|
Ach Gott, wie manches Herzeleid → F 87 |
| |
|
|
|
|
Ach Herr, mich armen Sünder → F 92 |
|
F 4.1 |
349 |
XXXIX |
|
|
Ich dank dir schon durch deinen Sohn |
|
F 4.1a |
341 |
XXXIX |
|
|
Heut ist, o Mensch, ein großer Trauertag |
|
F 5.1 |
259 |
XXXIX |
|
|
Ach, was soll ich Sünder machen |
|
F 6 |
|
|
|
|
|
|
F 7.1 |
406 |
XXXIX |
|
|
O wie selig seid ihr doch, ihr Frommen |
|
F 8.1 |
262 |
XXXIX |
|
|
Alle Menschen müssen sterben |
|
F 9 |
|
|
|
|
|
|
F 10.1 |
260 |
XXXIX |
|
|
Allein Gott in der Höh' sei Ehr' |
|
F 11.1 |
261 |
XXXIX |
|
|
Allein zu dir, Herr Jesu Christ |
|
F 12.1 |
263 |
XXXIX |
|
|
Alles ist an Gottes Segen |
|
F 13.1 |
264 |
XXXIX |
|
|
Als der gütige Gott |
|
F 14.1 |
265 |
XXXIX |
|
|
Als Jesus Christus in der Nacht |
|
F 15.1 |
266 |
XXXIX |
|
|
Als vierzig Tag nach Ostern |
|
F 16 |
|
|
|
|
|
|
F 17.1 |
267 |
XXXIX |
|
|
An Wasserflüssen Babylon |
|
F 18.1 |
415 |
XXXIX |
|
|
Valet will ich dir geben |
|
F 19.1 |
268 |
XXXIX |
|
|
Auf, auf, mein Herz, und du mein ganzer Sinn |
|
F 20 |
|
|
|
|
|
|
F 21.1 |
269 |
XXXIX |
|
|
Aus meines Herzens Grunde |
|
F 22 |
|
|
|
|
|
|
F 23.1 |
339 |
XXXIX |
|
|
Herr, wie du willt, so schick's mit mir |
|
F 24.1 |
272 |
XXXIX |
|
|
Befiehl du deine Wege |
|
F 24.1 |
273 |
XXXIX |
|
|
Christ, der du der helle Tag |
|
F 25.1 |
276 |
XXXIX |
|
|
Christ ist erstanden |
|
F 26.1 |
277 |
XXXIX |
|
|
Christ lag in Todesbanden |
|
F 26.2 |
278 |
XXXIX |
|
|
Christ lag in Todesbanden |
|
F 27.1 |
274 |
XXXIX |
|
|
Christe, der du bist Tag und Licht |
|
F 28.1 |
275 |
|
|
|
Christe, du Beistand deiner Kreuzgemeinde |
|
F 29 |
|
|
|
|
|
|
F 30.1 |
281 |
XXXIX |
|
|
Christus, der is mein Leben |
|
F 30.2 |
282 |
XXXIX |
|
|
Christus, der is mein Leben |
|
F 31.1 |
283 |
XXXIX |
|
|
Christus, der uns selig macht |
|
F 32.1 |
284 |
XXXIX |
|
|
Christus, ist erstanden, hat überwunden |
|
F 33 |
|
|
|
|
|
|
F 34.1 |
285 |
XXXIX |
|
|
Da der Herr Christ zu Tische sass |
|
F 35.1 |
253 |
XXXIX |
|
|
Ach bleib bei uns, Herr Jesu Christ |
|
F 35.2 |
414 |
XXXIX |
|
|
Uns ist ein Kindlein heut gebor'n |
|
F 36.1 |
288 |
XXXIX |
|
|
Das alte Jahr vergangen ist |
|
F 36.2 |
289 |
XXXIX |
|
|
Das alte Jahr vergangen ist |
|
F 37 |
|
|
|
|
|
|
F 38.1 |
290 |
XXXIX |
|
|
Das walt' Gott Vater und Gott Sohn |
|
F 39.1 |
291 |
XXXIX |
|
|
Das walt' mein Gott, Vater, Sohn und heiliger Geist |
|
F 40.1 |
292 |
XXXIX |
|
|
Den Vater dort oben |
|
F 41 |
|
|
|
|
|
|
F 42.1 |
293 |
XXXIX |
|
|
Der du bist drei in Einigkeit |
|
F 43.1 |
294 |
XXXIX |
|
|
Der Tag, der ist so freudenreich |
|
F 44.1 |
296 |
XXXIX |
|
|
Die Nacht ist kommen |
|
F 45.2b |
398 |
XXXIX |
|
|
O Gott, du frommer Gott |
|
F 46.1 |
298 |
XXXIX |
|
|
Dies sind die heil'gen zehn Gebot' |
|
F 47.1 |
299 |
XXXIX |
|
|
Dir, dir, Jehova, will ich singen |
|
F 48 |
|
|
|
|
|
|
F 49 |
|
|
|
|
|
|
F 50.1 |
301 |
XXXIX |
|
|
Du, o schönes Weltgebäude |
|
F 51.1 |
300 |
XXXIX |
|
|
Du grosser Schmerzensmann |
|
F 52 |
|
|
|
|
|
|
F 53.1 |
302 |
XXXIX |
|
|
Ein' feste Burg ist unser Gott |
|
F 53.2 |
303 |
XXXIX |
|
|
Ein' feste Burg ist unser Gott |
|
F 53.2 |
303 |
XXXIX |
|
|
Ein' feste Burg ist unser Gott |
|
F 54.1 |
304 |
XXXIX |
|
|
Eins ist Not! ach Herr, dies Eine |
|
F 55.1 |
305 |
XXXIX |
|
|
Erbarm' dich mein, o Herre gott |
|
F 56 |
|
|
|
|
|
|
F 57 |
|
|
|
|
|
|
F 58.1 |
306 |
XXXIX |
|
|
Erstanden ist der heil'ge Christ |
|
F 59 |
|
|
|
|
|
|
F 60 |
|
|
|
|
|
|
F 61.1 |
402 |
XXXIX |
|
|
O Mensch, bewein dein' Sünde groß |
|
F 62.1 |
308 |
XXXIX |
|
|
Es spricht der Unweisen Mund wohl |
|
F 63.1 |
309 |
XXXIX |
|
|
Es stehn vor Gottes Throne |
|
F 64.1 |
310 |
XXXIX |
|
|
Es wird schier der letzte Tag herkommen |
|
F 65.1 |
280 |
XXXIX |
|
|
Christ, unser Herr, zum Jordan kam |
|
F 66.1 |
311 |
XXXIX |
|
|
Es woll' uns Gott genädig sein |
|
F 66.2 |
312 |
XXXIX |
|
|
Es woll' uns Gott genädig sein |
|
F 67 |
|
|
|
|
|
|
F 68.1 |
313 |
XXXIX |
|
|
Für Freuden lasst uns springen |
|
F 69.1 |
314 |
XXXIX |
|
|
Gelobet seist du, Jesu Christ |
|
F 70.1 |
315 |
XXXIX |
|
|
Gib dich zufrieden und sei stille |
|
F 71.1 |
316 |
XXXIX |
|
|
Gott, der du selber bist das Licht |
|
F 72.1 |
317 |
XXXIX |
|
|
Gott, der Vater, wohn' uns bei |
|
F 73 |
|
|
|
|
|
|
F 74.1 |
319 |
XXXIX |
|
|
Gott hat das Evangelium |
|
F 75.1 |
320 |
XXXIX |
|
|
Gott lebet noch |
|
F 76.1 |
322 |
XXXIX |
|
|
Gott sei gelobet und gebenedeiet |
|
F 77.1 |
321 |
XXXIX |
|
|
Gotlob, es geht nunmehr zu Ende |
|
F 78 |
|
|
|
|
|
|
F 79.1 |
325 |
XXXIX |
|
|
Heilig, heilig, helig |
|
F 80 |
|
|
|
|
|
|
F 81 |
|
|
|
|
|
|
F 82.1 |
372 |
XXXIX |
|
|
Laß, o Herr, dein Ohr sich neigen |
|
F 83.1 |
328 |
XXXIX |
|
|
Herr, Gott, dich loben wir |
|
F 84.1 |
330 |
XXXIX |
|
|
Herr, ich habe missgehandelt |
|
F 84.2 |
331 |
XXXIX |
|
|
Herr, ich habe missgehandelt |
|
F 85.1 |
332 |
XXXIX |
|
|
Herr Jesu Christe, dich zu uns wend |
|
F 86.1 |
333 |
XXXIX |
|
|
Herr Jesu Christ, du hast bereit't |
|
F 87 |
|
|
|
|
|
|
F 88.1 |
336 |
XXXIX |
|
|
Herr Jesu Christ, wahr'r Mensch und Gott |
|
F 89.1 |
337 |
XXXIX |
|
|
Herr, nun lass in Frieden |
|
F 90.1 |
338 |
XXXIX |
|
|
Herr, straf mich nicht in deinem Zorn |
|
F 91.1 |
340 |
XXXIX |
|
|
Herzlich lieb hab ich dich, o Herr |
|
F 92.1 |
270 |
XXXIX |
|
|
Befiehl du deine Wege |
|
F 92.2 |
271 |
XXXIX |
|
|
Befiehl du deine Wege |
|
F 93 |
|
|
|
|
|
|
F 94.1b |
408 |
XXXIX |
|
|
Schaut, ihr Sünder! Ihr macht mir große Pein |
|
F 95.1 |
342 |
XXXIX |
|
|
Heut triumphieret Gottes Sohn |
|
F 96.1 |
343 |
XXXIX |
|
|
Hilf, Gott, laß mir's gelingen |
|
F 97.1 |
344 |
XXXIX |
|
|
Hilf, Herr Jesu, laß gelingen |
|
F 98 |
|
|
|
|
|
|
F 99.1 |
345 |
XXXIX |
|
|
Ich bin ja, Herr, in deiner Macht |
|
F 100.1 |
346 |
XXXIX |
|
|
Ich dank dir Gott für alle Wohltat |
|
F 101.1 |
347 |
XXXIX |
|
|
Ich dank dir, lieber Herre |
|
F 101.2 |
348 |
XXXIX |
|
|
Ich dank dir, lieber Herre |
|
F 102.1 |
351 |
XXXIX |
|
|
Ich hab mein Sach Gott heimgestellt |
|
F 103 |
|
|
|
|
|
|
F 104.1 |
366 |
XXXIX |
|
|
Ihr Gestirn, ihr hohen Lüfte |
|
F 105.1 |
326 |
XXXIX |
|
|
Herr Gott, dich loben alle wir |
|
F 105.2 |
327 |
XXXIX |
|
|
Für deinen Thron tret' ich hiermit |
|
F 106.1 |
387 |
XXXIX |
|
|
Nun freut euch, Gottes Kinder all |
|
F 107.1 |
367 |
XXXIX |
|
|
In allen meinen Taten |
|
F 108 |
|
|
|
|
|
|
F 109.1 |
436 |
XXXIX |
|
|
Wie schön leuchtet der Morgenstern |
|
F 110.1 |
368 |
XXXIX |
|
|
In dulci jubilo |
|
F 111 |
|
|
|
|
|
|
F 112.1 |
355 |
XXXIX |
|
|
Jesu, der du selbsten wohl |
|
F 113.1 |
356 |
XXXIX |
|
|
Jesu, du mein liebstes Leben |
|
F 114.1 |
357 |
XXXIX |
|
|
Jesu, Jesu, du bist mein |
|
F 115 |
|
|
|
|
|
|
F 116.1 |
358 |
XXXIX |
|
|
Jesu, meine Freude |
|
F 117.1 |
361 |
XXXIX |
|
|
Jesu, meines Herzens Freud |
|
F 118.1 |
362 |
XXXIX |
|
|
Jesu, nun sei gepreiset |
|
F 119.1 |
287 |
XXXIX |
|
|
Dank sei Gott in der Höhe |
|
F 120.1 |
364 |
XXXIX |
|
|
Jesus Christus, unser Heiland |
|
F 121.1 |
363 |
XXXIX |
|
|
Jesus Christus, unser Heiland |
|
F 122.1 |
379 |
XXXIX |
|
|
Meinen Jesum laß ich nicht |
|
F 123.1 |
365 |
XXXIX |
|
|
Jesus, meine Zuversicht |
|
F 124.1 |
369 |
XXXIX |
|
|
Keinen hat Gott verlassen |
|
F 125.1 |
370 |
XXXIX |
|
|
Komm, Gott Schöpfer, heiliger Geist |
|
F 126 |
|
|
|
|
|
|
F 127.1 |
375 |
XXXIX |
|
|
Lobt Gott, ihr Christen, allzugleich |
|
F 128.1 |
376 |
XXXIX |
|
|
Lobt Gott, ihr Christen, allzugleich |
|
F 129.1 |
371 |
XXXIX |
|
|
Kyrie, Gott Vater in Ewigkeit |
|
F 130.1 |
413 |
XXXIX |
|
|
Sollt ich meinem Gott nicht singen |
|
F 131 |
|
|
|
|
|
|
F 132 |
|
|
|
|
|
|
F 133.1 |
373 |
XXXIX |
|
|
Liebster Jesu, wir sind hier |
|
F 134.1 |
329 |
XXXIX |
|
|
Herr, ich denk' an jene Zeit |
|
F 135.1 |
374 |
XXXIX |
|
|
Lobet den Herren |
|
F 136 |
|
|
|
|
|
|
F 137.1 |
377 |
XXXIX |
|
|
Mach's mit mir, Gott, nach deiner Güt |
|
F 138.1 |
378 |
XXXIX |
|
|
Mein' Augen schließ ich jetzt |
|
F 139.1 |
350 |
XXXIX |
|
|
Ich danke dir, o Gott, in deinem Throne |
|
F 140.1 |
323 |
XXXIX |
|
|
Gott sei uns gnädig |
|
F 140.1 |
324 |
XXXIX |
|
|
Meine Seele erhebet den Herrn |
|
F 141.1 |
380 |
XXXIX |
|
|
Meinen Jesum laß ich nicht |
|
F 142.1 |
381 |
XXXIX |
|
|
Meines Lebens letzte Zeit |
|
F 143.1 |
318 |
XXXIX |
|
|
Gottes Sohn ist kommen |
|
F 144.1 |
382 |
XXXIX |
|
|
Mit Fried und Freud ich fahr dahin |
|
F 145.1 |
383 |
XXXIX |
|
|
Mitten wir im Leben sind |
|
F 146.1 |
384 |
XXXIX |
|
|
Nicht so traurig, nicht so sehr |
|
F 147.1 |
385 |
XXXIX |
|
|
Nun bitten wir den heiligen Geist |
|
F 148.1 |
386 |
XXXIX |
|
|
Nun danket alle Gott |
|
F 149.1 |
388 |
XXXIX |
|
|
Nun freut euch, lieben Christeng'mein |
|
F 150.1 |
307 |
XXXIX |
|
|
Es ist gewisslich an der Zeit |
|
F 151 |
|
|
|
|
|
|
F 152 |
|
|
|
|
|
|
F 153.1 |
389 |
XXXIX |
|
|
Nun lob, mein Seel, den Herren |
|
F 153.2 |
390 |
XXXIX |
|
|
Nun lob, mein Seel, den Herren |
|
F 154.1 |
391 |
XXXIX |
|
|
Nun preiset alle Gottes Barmherzigkeit |
|
F 155.1 |
396 |
XXXIX |
|
|
Nun sich der Tag geendet hat |
|
F 156.1 |
397 |
XXXIX |
|
|
O Ewigkeit, du Donnerwort |
|
F 157.1 |
399 |
XXXIX |
|
|
O Gott, du frommer Gott |
|
F 158 |
|
|
|
|
|
|
F 159 |
|
|
|
|
|
|
F 160.1 |
400 |
XXXIX |
|
|
O Herzensangst, o Bangigkeit und Zagen |
|
F 161.1 |
297 |
XXXIX |
|
|
Die Sonn' hat sich mit ihrem Glanz |
|
F 162.1 |
401 |
XXXIX |
|
|
O Lamm Gottes unschuldig |
|
F 163.1 |
403 |
XXXIX |
|
|
O Mensch, schau Jesum Christum an |
|
F 164 |
|
|
|
|
|
|
F 165.1 |
404 |
XXXIX |
|
|
O Traurigkeit, o Herzeleid |
|
F 166.1 |
392 |
XXXIX |
|
|
Nun ruhen alle Wälder |
|
F 166.2 |
393 |
XXXIX |
|
|
O Welt, sieh hier dein Leben |
|
F 166.5 |
394 |
XXXIX |
|
|
O Welt, sieh hier dein Leben |
|
F 166.9 |
395 |
XXXIX |
|
|
O Welt, sieh hier dein Leben |
|
F 167.1 |
405 |
XXXIX |
|
|
O Mensch, schau Jesum Christum an |
|
F 168.1 |
407 |
XXXIX |
|
|
O wir armen Sünder |
|
F 169 |
|
|
|
|
|
|
F 170.1 |
335 |
XXXIX |
|
|
Herr Jesu Christ, mein's Lebens Licht |
|
F 171 |
|
|
|
|
|
|
F 172 |
|
|
|
|
|
|
F 173.1 |
409 |
XXXIX |
|
|
Seelenbräutigam, Jesu, Gottes Lamm |
|
F 174.1 |
410 |
XXXIX |
|
|
Sei gegrüßet, Jesu gütig |
|
F 175.1 |
411 |
XXXIX |
|
|
Singt dem Herrn ein neues Lied |
|
F 176 |
|
|
|
|
|
|
F 177.1 |
412 |
XXXIX |
|
|
So gibst du nun, mein Jesu, gute Nacht |
|
F 178.1 |
295 |
XXXIX |
|
|
Des heil'gen Geistes recihe Gnad' |
|
F 179 |
|
|
|
|
|
|
F 180 |
|
|
|
|
|
|
F 181.4a |
416 |
XXXIX |
|
|
Vater unser im Himmelreich |
|
F 182 |
|
|
|
|
|
|
F 183.1 |
286 |
XXXIX |
|
|
Danket dem Herren |
|
F 184 |
|
|
|
|
|
|
F 185.1 |
417 |
XXXIX |
|
|
Von Gott will ich nicht lassen |
|
F 185.2 |
418 |
XXXIX |
|
|
Von Gott will ich nicht lassen |
|
F 185.3 |
419 |
XXXIX |
|
|
Von Gott will ich nicht lassen |
|
F 186 |
|
|
|
|
|
|
F 187.1 |
352 |
XXXIX |
|
|
Jesu, der du meine Seele |
|
F 187.2 |
353 |
XXXIX |
|
|
Jesu, der du meine Seele |
|
F 187.3 |
354 |
XXXIX |
|
|
Jesu, der du meine Seele |
|
F 188 |
|
|
|
|
|
|
F 189.1 |
420 |
XXXIX |
|
|
Warum betrübst du dich, mein Herz |
|
F 189.2 |
421 |
XXXIX |
|
|
Warum betrübst du dich, mein Herz |
|
F 190.1 |
422 |
XXXIX |
|
|
Warum sollt ich mich denn grämen |
|
F 191.1 |
423 |
XXXIX |
|
|
Was betrübst du dich, mein Herze |
|
F 192.1 |
424 |
XXXIX |
|
|
Was bist du doch, o Seele, so betrübet |
|
F 193 |
|
|
|
|
|
|
F 194 |
|
|
|
|
|
|
F 195.1 |
425 |
XXXIX |
|
|
Was willst du dich, o meine Seele, kränken |
|
F 196 |
|
|
|
|
|
|
F 197.1 |
426 |
XXXIX |
|
|
Weltlich Ehr und zeitlich Gut |
|
F 187 |
|
|
|
|
|
|
F 199 |
|
|
|
|
|
|
F 200.1 |
427 |
XXXIX |
|
|
Wenn ich in Anund Not mein' Augen heb empor |
|
F 201.1 |
428 |
XXXIX |
|
|
Wenn mein Stündlein vorhanden ist |
|
F 201.2 |
429 |
XXXIX |
|
|
Wenn mein Stündlein vorhanden ist |
|
F 201.3 |
430 |
XXXIX |
|
|
Wenn mein Stündlein vorhanden ist |
|
F 202.1 |
334 |
XXXIX |
|
|
Herr Jesu Christ, du höchstes Gut |
|
F 203.1 |
431 |
XXXIX |
|
|
Wenn wir in höchsten Nöten sein |
|
F 203.2 |
432 |
XXXIX |
|
|
Wenn wir in höchsten Nöten sein |
|
F 204.1 |
433 |
XXXIX |
|
|
Wer Gott vertraut, hat wohlgebaut |
|
F 205.1 |
434 |
XXXIX |
|
|
Wer nur den lieben Gott läßt walten |
|
F 206.1 |
359 |
XXXIX |
|
|
Jesu, meiner Seelen Wonne |
|
F 206.2 |
360 |
XXXIX |
|
|
Jesu, meiner Freuden Freude |
|
F 207.1 |
435 |
XXXIX |
|
|
Wie bist du Seele in mir so gar betrübt |
|
F 208 |
|
|
|
|
|
|
F 209 |
|
|
|
|
|
|
F 210 |
|
|
|
|
|
|
F 211.1 |
437 |
XXXIX |
|
|
Wir glauben all an einen Gott |
|
F 212.1 |
256 |
XXXIX |
|
|
Ach lieben Christen, seid getrost |
|
F 212.2 |
257 |
XXXIX |
|
|
Wär Gott nicht mit uns diese Zeit |
|
F 212.3 |
258 |
XXXIX |
|
|
Wo Gott der Herr nicht bei uns hält |
|
F 213.1 |
438 |
XXXIX |
|
|
Wo Gott zum Haus nicht gibt sein' Gunst |
| |
|
|
|
|
|
| |
|
|
|
|
Four-Part Chorales with Obbligato Instruments
(* interludes between chorale lines) |
|
BC |
BWV |
BGA |
NBA |
Year |
Title / Comments |
| |
|
|
|
|
|
| |
|
|
|
|
Chorales from Zweiten Clavierbüchlein für Anna Maagdalena Bach |
|
BC |
BWV |
BGA |
NBA |
Year |
Title / Comments |
| |
|
|
|
|
→ Work Group S |
|
F 214a |
511 |
V/4 |
|
|
Gib dich zufrieden |
|
F 214b |
512 |
V/4 |
|
|
Gib dich zufrieden |
|
F 215 |
516 |
V/4 |
|
|
Warum Betrübst du dich |
|
F 216 |
514 |
V/4 |
|
|
Schaffs mit mir, Gott |
|
F 217 |
452 |
V/4 |
|
|
Dir, dir Jehovah, will ich singen
Also F 250 |
|
F 218 |
513 |
V/4 |
|
|
O Ewigkeit, du Donnerwort |
| |
|
|
|
|
|
| |
|
|
|
|
Chorales and Sacred Songs from Musicalischen Gesangbuch von Georg Christian Schemelli |
|
BC |
BWV |
BGA |
NBA |
Year |
Title / Comments |
|
F 219 |
451 |
III/2 |
|
|
Die goldne Sonne, voll Freud' und Wonne |
|
F 220 |
446 |
III/2 |
|
|
Der lieben Sonnen Licht und pracht |
|
F 221 |
447 |
III/2 |
|
|
Der Tag ist hin, die Sonne gehet nieder |
|
F 222 |
448 |
III/2 |
|
|
Der Tag mit seinem Lichte |
|
F 223 |
463 |
III/3 |
|
|
Herr, nicht schicke deine Rache |
|
F 224 |
507 |
III/2 |
|
|
Wo ist mein Schäflein, das ich liebe |
|
F 225 |
453 |
III/3 |
|
|
Eins ist Not! ach Herr, dies Eine |
|
F 226 |
472 |
III/2 |
|
|
Jesu, meines Glaubens Zier |
|
F 227 |
486 |
III/2 |
|
|
Mein Jesu, dem die Seraphinen |
|
F 228 |
471 |
III/3 |
|
|
Jesu, deine Liebeswunden |
|
F 229 |
440 |
III/2 |
|
|
Auf, auf! die rechte Zeit ist hier |
|
F 230 |
454 |
III/3 |
|
|
Ermuntre dich, mein schwacher Geist |
|
F 231 |
465 |
III/2 |
|
|
Ich freue mich in dir |
|
F 232 |
|
|
|
|
|
|
F 233 |
|
|
|
|
|
|
F 234 |
493 |
III/2 |
|
|
O Jesulein Süss, o Jesulein mild |
|
F 235 |
450 |
III/2 |
|
|
Die bittre Leidenszeit beginnet abermal |
|
F 236 |
481 |
III/2 |
|
|
Lasset uns mit Jesus ziehen |
|
F 237 |
487 |
III/3 |
|
|
Mein Jesu! was für Seelenweh |
|
F 238 |
491 |
III/2 |
|
|
O du Liebe meine Liebe |
|
F 239 |
498 |
III/3 |
|
|
Selig, wer an Jesum denkt |
|
F 240 |
499 |
III/2 |
|
|
Sei gegrüsset, Jesu gütig |
|
F 241 |
500 |
III/3 |
|
|
So gehst du nun, mein Jesu, hin |
|
F 242 |
444 |
III/2 |
|
|
Brich entzwei, mein armes Herze |
|
F 243 |
458 |
III/2 |
|
|
Es ist vollbracht! vergiss ja nicht |
|
F 244 |
501 |
III/2 |
|
|
So gibst du nun, mein Jesu, gute Nacht |
|
F 245 |
441 |
III/2 |
|
|
Auf! auf! mein Herz, mit Freuden |
|
F 246 |
475 |
III/2 |
|
|
Jesus, unser Trost und Leben |
|
F 247 |
445 |
III/3 |
|
|
Brunnquell aller Güter |
|
F 248 |
462 |
III/2 |
|
|
Gott, wie gross ist deine Güte |
|
F 249 |
449 |
III/3 |
|
|
Dich bet'ich an, mein höchster Gott |
|
F 250 |
452 |
III/3 |
|
|
Dir, dir Jehovah, will ich singen
Also F 217 |
|
F 251 |
474 |
III/2 |
|
|
Jesus ist das schönste Licht |
|
F 252 |
469 |
III/2 |
|
|
Ich steh' an deiner Krippen hier |
|
F 252 |
482 |
III/2 |
|
|
Liebes Herz, bedenke doch |
|
F 253 |
476 |
III/3 |
|
|
Ihr Gestirn', ihr hohen Lüfte |
|
F 253 |
496 |
III/3 |
|
|
Seelenbräutigam, Jesu, Gottes Lamm! |
|
F 254 |
504 |
III/2 |
|
|
Vergiss mein nicht, dass ich dein nicht |
|
F 255 |
461 |
III/2 |
|
|
Gott lebet noch; Seele, was verzagst du doch? |
|
F 256 |
459 |
III/2 |
|
|
Es kostet viel, ein Christ zu sein |
|
F 257 |
442 |
III/2 |
|
|
Beglückter Stand getreuer Seelen |
|
F 258 |
456 |
III/2 |
|
|
Es glänzet der Christen |
|
F 259 |
489 |
III/2 |
|
|
Nicht so traurig, nicht so sehr |
|
F 260 |
494 |
III/2 |
|
|
O liebe Selle, zieh' die Sinnen |
|
F 261 |
455 |
III/2 |
|
|
Erwürgtes Lamm, das die verwahrten Siegel |
|
F 262 |
505 |
III/2 |
|
|
Vergiss mein nicht, vergiss mein nicht |
|
F 263 |
460 |
III/2 |
|
|
Gieb dich zufrieden und sei stille |
|
F 264 |
466 |
III/2 |
|
|
Ich halte treulich still und liebe |
|
F 265 |
443 |
III/3 |
|
|
Beschränkt, ihr Weisen dieser Welt |
|
F 266 |
473 |
III/2 |
|
|
Jesu, meines Herzens Freud |
|
F 267 |
490 |
III/2 |
|
|
Nur mein Jesus ist mein Leben |
|
F 268 |
497 |
III/2 |
|
|
Seelenweide, meine Freude |
|
F 269 |
467 |
III/2 |
|
|
Ich lass' dich nicht |
|
F 270 |
468 |
III/2 |
|
|
Ich liebe Jesum alle Stund' |
|
F 271 |
470 |
III/2 |
|
|
Jesu, Jesu, du bist mein |
|
F 272 |
485 |
III/3 |
|
|
Liebster Immanuel, Herzog der Frommen |
|
F 273 |
506 |
III/2 |
|
|
Was bist du doch, o Seele, so betrübet |
|
F 274 |
439 |
III/2 |
|
|
Ach, dass nicht die letzte Stunde |
|
F 275 |
457 |
III/2 |
|
|
Es ist nun aus mit meinem Leben |
|
F 276 |
464 |
III/3 |
|
|
Ich bin ja, Herr, in deiner Macht |
|
F 277 |
478 |
III/2 |
|
|
Komm, süsser Tod, komm, sel'ge Ruh! |
|
F 278 |
477 |
III/2 |
|
|
Kein Stündlein geht dahin |
|
F 279 |
483 |
III/2 |
|
|
Liebster Gott, wann werd' ich sterben? |
|
F 280 |
484 |
III/2 |
|
|
Liebster Herr Jesu! wo bleibest du so lange? |
|
F 281 |
488 |
III/3 |
|
|
Meines Lebens letzte Zeit |
|
F 282 |
492 |
III/2 |
|
|
O finstre Nacht |
|
F 283 |
495 |
III/2 |
|
|
O wie selig seid ihr doch, ihr Frommen |
|
F 284 |
502 |
III/2 |
|
|
So wünsch' ich mir zu guter Letzt |
|
F 285 |
479 |
III/3 |
|
|
Kommt, Seelen, dieser Tag |
|
F 286 |
480 |
III/3 |
|
|
Kommt wieder aus der finstern Gruft |
|
F 287 |
503 |
III/3 |
|
|
Steh' ich bei meinem Gott |
| |
|
|
|
|
|
|
F214-F287 |
|
|
|
|
Alphabetical List of Melodies |
|
BC |
BWV |
BGA |
NBA |
Year |
Title / Comments |
| |
|
|
|
|
|
| |
|
|
|
|
|
| |
|
|
|
|
|
| |
|
|
|
|
|
| |
|
|
|
|
|
| |
|
|
|
|
|
| |
|
|
|
|
|
| |
|
|
|
|
|
| |
|
|
|
|
|
| |
|
|
|
|
|
|
-- |
|
Source: Volume 1, Part 4: Vocal Works IV (contains the works of groups E, F, G and H),
Leipzig 1989, ISBN 3-369-00051-2 or Frankfurt / M. 1989, ISBN 3-876-26084-1, pp 1270-1274, 1276-1287
Compiled by Aryeh Oron & David O. Berger [Concordia Seminary Library, St. Louis, MO, USA] (September 2009) |
