Chorale Texts used in Bach's Vocal Works
An Wasserflüssen Babylon
Text and Translation of Chorale

EKG:
Author: Wolfgang Dachstein (1525)
Chorale Melody: An Wasserflüssen Babylon (Zahn 7663) | Composer: Matthias Greiter (not Wolfgang Dachstein) (1525)
Theme:

Description:

The hymn and melody appeared together in the third part of the Teutsch Kirchēamt mit lobgsengen (Strasbourg, 1525). The words are by Wolfgang Dachstein, to whom the melody also is assigned. He was Organist of Strasbourg Cathedral, and later, having become a Protestant, of St Thomas’ Church there. He died circa 1561.

There are two movements upon the melody in the Organ works - in the Eighteen Chorals and among the miscellaneous movements (Fünfstimmig). Griepenkerl states that Krebs’ copies of the two are marked respectively “Vers 2” and “Vers 1.” They display a close relation in tonality, atmosphere, and construction. Both are in G major. Both are inspired by the word “Wasserflüssen” (waves). In quavers, against the crotchets of the cantus, the accompaniment ripples on pellucidly in a figure which, in No. 18 especially, is reminiscent of Schubert’s familiar “Barcarolle.” Though No. 17 is six bars longer than No. 18, the two movements are otherwise similar. Practically they are built upon the same Bass, and their contrapuntal accompaniment to the cantus is constructed out of the opening two lines of the melody. In No. 17 the close is prolonged upon a final (tenth) statement of the opening phrase of the cantus. The melody also occurs in Choralgesange, No. 23 (BWV 267). In the penultimate bar (supra) E flat for E natural as the sixth note was general after 1653. Witt (No. 601) has it and also J.S. Bach’s B natural as the penultimate note of bar 4 supra. Of J.S. Bach’s B natural as the third note of bars 2 and 4 Zahn (No. 7663) affords no earlier example.
Source: Charles Sanford Terry: Johann Sebastian Bach, Bach’s Chorals, vol. 3 The Hymns and Hymn Melodies of the Organ Works (1921), pp 94-97

Vocal Works by J.S. Bach:

Chorale An Wasserflüssen Babylon / Ein Lämmlein geht trägt die Schuld, BWV 267
Chorale Text #1: An Wasserflüssen Babylon, by Wolfgang Dachstein (1525) (Heading given for Breitkopf chorale No. 5)
Chorale Text #2: Ein Lämmlein geht trägt die Schuld, by Paul Gerhardt (1647) (Heading given for Breitkopf chorale No. 308)
Ref: RE 5=309 (R5 down a m2) (see note below); Br 5=308 (B5 down a m2) (see note below); Di 144; Birnstiel 5 (down a m2); AmB 46II p.76, p.99, p.156 & p.332 (pp.99 & 156 down a m2); Levy–Mendelssohn 25; Fasch p.68 (down a m2); KE 23; BGA; BC F17.1

This chorale survives without text. The first text provided here follows the heading given for Chorale No.5 in the Breitkopf collection, and the second text follows the heading given for Chorale No.308, a duplicate appearance of the setting.
This setting appears multiple times in both the Breitkopf–Riemenschneider collection (twice) and the AmB 46II manuscript (4 times). Likely reasons for the duplication of settings in these early collections include different headings given for identical settings and settings being presented in two different keys that are otherwise identical. In the case of this setting, both are involved. The two different headings provided for this setting are "An Wasserflüssen Babylon" and "Ein Lämmlein geht trägt die Schuld." The setting also appears in the keys of G major and A–flat major. Curiously, there is no consistent correlation between headings and keys.
Dietel: A–flat major — "Wasserflüssen"
Br 5–RE 5: G major — "Wasserflüssen"
Br 308–RE 309: A–flat major — " Lämmlein"
AmB 46II p.76: A–flat major — "Lämmlein"
AmB 46II p.99: G major — "Wasserflüssen"
AmB 46II p.156: G major — "Wasserflüssen"
AmB 46II p.332: A–flat major — "Wasserflüssen"
Fasch p.68: G major — "Wasserflüssen"
levy–Mendelssohn 25: G major — "Wasserflüssen"
Preference is given here to the Dietel collection due to its early date and to the liklihood that Dietel copied directly from Bach’s original manuscripts. Thus, the setting is presented here in A–flat major.
Source: bach-chorales.com by Luke Dahn (2018)

German Text (verses in bold print set by Bach)

English Translation

1. An Wasserflüssen Babylon
da saßen wir mit Schmerzen,
als wir gedachten an Zion
da weinten wir von Herzen!
Wir hingen auf mit schwerem Mut,
die Harfen und die Orgeln gut
an ihre Baum der Weiden,
die drinnen sind in ihrem Land,
da mußten wir viel Schmach und Schand
täglich von ihnen leiden.

1. At the ryvers of Babilon,
There sat we downe ryght hevely;
Even whan we thought upon Sion,
We wepte together sorofully.
For we were in soch hevynes,
That we forgat al our merynes,
And lefte of all oure sporte and playe:
On the willye trees that were thereby
We hanged up oure harpes truly,
And morned sore both nyght and daye.

2. Die uns gefangen hielten lang
so hart an selben Orten,
begehrten von uns ein’ Gesang
mit gar spöttischen Worten
und suchten in der Traurigkeit
ein fröhlich G’sang in unserm Leid:
Ach Lieber, tut uns singen
ein’ Lobgesang, ein Liedlein schon,
von den Gedichten aus Zion,
das fröhlich tut erklingen.

2. They that toke us so cruelly,
And led us bounde into pryson,
Requyred of us some melody,
With wordes full of derision.
When we had hanged oure harpes alwaye,
This cruell folke to us coulde saye:
Now let us heare some mery songe,
Synge us a songe of some swete toyne,
As ye were wont to synge at Sion,
Where ye have lerned to synge so longe.

3. Wie sollen wir in solchem Zwang
und Elend itzt vorhanden
dem Herren singen ein’ Gesang
so gar in fremden Landen?
Jerusalem, vergess’ ich dein,
so wolle Gott der Rechten mein
vergessen in mein’m Leben,
wenn ich nicht dein bleib eingedenk,
mein Zung sich oben angehänk,
und bleib am Rachen kleben.

3. To whome we answered soberly:
Beholde now are we in youre honde:
How shulde we under captivite
Synge to the Lorde in a straunge londe?
Hierusalem, I say to the,
Yf I remember the not truly,
My honde playe on the harpe no more:
Yf I thynke not on the alwaye,
Let my tonge cleve to my mouth for aye,
And let me loose my speache therfore.

4. Ja wenn ich nicht mit ganzem Fleiß
Jerusalem, dich ehre,
im Anfang deiner Freudenpreis
von itzt und immermehre,
gedenk der Kinder Edom sehr
am Tag Jerusalem, o Herr,
die in ihr’ Bosheit sprechen:
Reiß’ ab, reiß’ ab zu aller Stund,
vertilg sie gar bis auf den Grund,
den Boden woll’n wir brechen.

4. Yee, above all myrth and pastaunce,
Hierusalem, I preferre the.
Lorde, call to thy remembraunce
The sonnes of Edom ryght strately,
In the daye of the destruction,
Which at Hierusalem was done;
For they sayd in theyr cruelnes,
Downe with it, downe with it, destroye it all;
Downe with it soone, that it may fall,
Laye it to the grounde all that there is.

5. Du schnöde Tochter Babylon
zerbrochen und zerstöret,
wohl dem, der dir wird geb’n den Lohn
und dir das wiederkehret,
dein Übermut und Schalkheit groß,
und mißt dir auch mit solchem Maß,
wie du uns hast gemessen,
wohl dem, der deine Kinder klein
erfaßt und schlägt sie an ein’ Stein,
damit dein’ werd vergessen.

5. O thou cite of Babilon,
Thou thy selfe shalt be destroyed.
Truly blessed shall be that man
Which, even as thou hast deserved,
Shall rewarde the with soch kyndnesse
As thou hast shewed to us gyltlesse,
Which never had offended the.
Blessed shall he be that for the nones1
Shall throwe thy chyldren agaynst the stones,
To brynge the out of memorie.

Source of German Text: Monarchieliga
English Translation: Bishop Myles Coverdale | Source of English Translation: Charles Sanford Terry: Johann Sebastian Bach, Bach’s Chorals, vol. 3 The Hymns and Hymn Melodies of the Works (1921), pp 94-97
Contributed by Aryeh Oron (September 2018)