Easter Season Chorales
Discussions

Easter Season Chorales, Sacred Songs

William L. Hoffman wrote (April 11, 2018):
As Easter season approached in Leipzig in 1724, Bach began planning for cantatas for the Easter season while he finished composing the St. John Passion. He was still steeped in Johannine theology and chorales when he planned reperformances of two Easter cantatas he had previously composed in Mühlhausen and Weimar: BWV 4, "Christ lag in Todesbanden” (Christ lay in death's bonds), and BWV 31, "Der Himmel lacht! die Erde jubilieret" (The heavens laugh! The earth shouts with joy). Bach set all three Easter chorales of Martin Luther, "Nun komm der Heiland Heiland" (Now comes the Saviour of the nations), “Jesus Christus, unser Heiland, der den Tod überwand” (Jesus Christ, our Saviour, who overcame death), and "Christ ist erstanden" (Christ is risen); two Bohemian Brethren settings, "Erstanden ist der heil'ge/Herre Christ" (Arisen is the holy/Lord Christ) and "Christus ist erstanden, hat überwunden" (Christ has risen, has overcome); and two of hymn-setting successor Nikolaus Herman, "Erschienen ist der herrlich Tag" (The glorious day has appeared) and "Wenn mein Stündlein vorhanden ist." Later Reformation Easter chorales Bach set included: “Heut triumphieret Gottes Sohn” (Today the Son of God triumphs), and the later, devotional "Jesu, meine Zuversicht" (Jesus, my Confidence),and Paul Gerhardt's “Auf! Auf! mein Herz mit Freuden” (Rise, rise, my heart with Joy).

Bach in Weimar from 1710 to 1714, had composed chorale prelude settings for the church year services as the first part of a well-ordered church music, including five which he set for the Easter Season (Ob. 34-39), "Christ lag in Todesbanden,: BWV 625; "Jesus Christus, unser Heiland," BWV 626; "Christ ist erstanden," BWV 627; "Erstanden ist der heil´ge Christ," BWV 628; "Erschienen ist der herrliche Tag," BWV 629, and "Heut´triumphieret Gottes Sohn BWV 630 (https://www.youtube.com/watch?v=64g8UR39n3o; see below). Bach set three in season cantatas: Luther's Christ lag in Todesbanden as an Easter Sunday chorale cantata, BWV 4 (https://groups.yahoo.com/neo/groups/BachCantatas/conversations/topics/39524), for the Easter Monday "Christ ist erstanden" as a plain to close 1724 Easter Monday Cantata 66, "Erfreut euch, ihr Herzen" (Rejoice, you hearts), and for the 1st Sunday after Easter (Quasimodogeniti), the melody "Erschienen ist der herrlich Tag" in the central chorale recitative in Cantata 67, "Halt im Gedächtnis Jesum Christ" (Keep in memory Jesus Christ, http://www.bach-cantatas.com/BWV67-D4.htm). The other three were set as free-standing plain chorales for liturgical use in Easter services, BWV 364, 306, and 342.

The best-known Easter Season chorales are the hymn de tempore (hymn of the day), Luther’s "Christ lag in Todesbanden” (https://groups.yahoo.com/neo/groups/BachCantatas/conversations/messages/39524); the Pulpit hymn, Luther’s “Christ ist erstanden” (Christ is arisen); and the Hymns for Chancel, Communion, and closing: anonymous "Erstanden ist der heil'ge/Herre Christ (Arisen is the holy/Lord Christ), Stoltzhagen-Gesius “Heut triumphieret Gottes Sohn” (This day in triumph, God’s Son) and Nicolaus Hermann “Erscheinen ist der Herrlich’ Tag” (Here shining is the splendid day). These also are the hymns for the First to Third Sundays after Easter in Bach's favored Hymnbook, Neu Leipziger Gesangbuch (NLGB) of 1682 with 21 Easter settings (Nos. 89-107)¹ and also are found in the Schmelli Gesangbuch (Leipzig 1736) under the rubric of "Von der Auferstehung (Resurrection) Jesu Christi," Nos. 319-334. An alphabetical list of 72 old Easter hymns is found at http://www.christliche-gedichte.de/?pg=1650.

Bach’s use of Easter chorales in Leipzig was quite flexible, observes Günther Stiller.² He notes that for the entire three-day Easter Festival (Sunday to Tuesday), Bach used various familiar hymns. The three hymns for Easter festival are “Ach, bleib bei uns, Herr Jesu Christ,” “Erschienen ist der herrlich Tag” and “Wenn mein stündlein vorhanden ist.” At the same time, “Ach, bleib bei uns,” is a main service hymn for Easter Monday in Leipzig, while “Erschienen ist der herrlich Tag” is an Easter season chorale and “Wenn mein Stündlein vorhanden ist” is an omnes tempore hymn (Death & Dying). Stiller details Bach’s use of certain chorale melodies and stanzas in various cantatas for the Easter Festival. “Only in one case did Bach use an Easter hymn that was not so common and yet not unknown in certain Leipzig hymnbooks, namely, “Auf, mein Herz! Des Herren Tag” at the beginning of Cantata BWV 145 (Easter Tuesday 1729, Picander text), see below.

"In his selection of hymns for the Easter cantatas, Bach likewise maintained his connection with the familiar stock and store of hymns," says Stiller (Ibid.). Luther's 1524 "Christ Lag in Todesbanden" was often listed as the first hymn assigned to Easter in the Leipzig and Dresden hymnbooks. It was the Hymn of the Day for Easter Sunday and Tuesday in Leipzig. Luther's "Christ ist erstanden" was "always sung before the Sermon on all Easter Days in Leipzig and beyond that every Sunday throughout the Easter season." Most of Bach's Easter chorale settings are found in Helmut Rilling's "Ein Choralbuch: Ostern, Himmelfahrt, Pfingsten, Trinitatis."³

The chorales for the Easter season were based on Saxon Duke Heinrich's 1539 Agenda and the subsequent Church Book of 1718 (http://www.bach-cantatas.com/Articles/Leipzig-Churches-Petzold.pdf). While the three Easter Feast Days prescribed de tempore (Proper Time) chorales which could be sung through the third Sunday after Easter (Jubilate), all six Sundays after Easter were considered "Feastless Days/Periods" (Ibid.: 12) of omnes tempore (Ordinary Time), with John's gospel emphasizing Jesus' Farewell Discourse to his disciples. Bach's NLGB listed no chorales for the succeeding three Sundays after Easter, (Cantate, Rogate, Exaudi), thus Bach continued during Easter "Season" to use appropriate, topical chorales such as: "Also hat Gott die Welt geliebt" (Thus God so loved the world), "Der Herr ist mein getreuer Hirt" (The Lord is my faithful Shepherd), "Du Friedefürst, Herr Jesu Christ" (Thou Prince of Peace, Lord Jesus Christ), "Erhalt uns, Herr, bei deine Wort" (Guide us, Lord, with thy word), and "Es ist das Heil uns kommen her" (Salvation has come to us)."

“Jesus Christus, unser Heiland, der den Tod überwand”

“Jesus Christus, unser Heiland, der den Tod überwand” (Jesus Christ, our Saviour, who overcame death), is Martin Luther's second Easter hymn of three verses also published in 1524 in Walther’s Wittenberg Hymn book and in the Erfurt Enchiridion (https://en.wikipedia.org/wiki/Jesus_Christus,_unser_Heiland,_der_den_Tod_überwand), as a hymn of praise for the Easter Festival.⁴ The associated melody that Bach set (Zahn 1978 EKG 77) was first published in Joseph Klug's Geistliche Lieder (Wittenberg 1529, http://www.bach-cantatas.com/CM/Jesus-Christus-unser-Heiland.htm). Like Luther's 1533 Easter Hymn, "Christ ist erstanden," it is a Leise, "a Medieval vernacular song ending with 'Kyrie Eleison' but given here as 'Allelujah'."⁵ It is found in the NLGB as No. 100 (Easter) with music and text, as well as the Schmelli Gesangbuch as No. 310 (Easter).

Bach set the Klug melody version twice (https://www.youtube.com/watch?v=L7qCNAZyMSA), as a chorale prelude in the Weimar Orgelbüchlein as No. 35 (Easter), BWV 626 (https://www.youtube.com/watch?v=MWkuSDFdajc), and as a plain chorale, BWV 364 (http://www.bach-chorales.com/BWV0364.htm). It is not to be confused with Luther's 1524 Communion hymn, “Jesus Christus, unser Heiland, / der von uns den Gottes Zorn wand” (Jesus Christ, our Savior, turned God's wrath from us, https://groups.yahoo.com/neo/groups/BachCantatas/conversations/messages/39515).

Christ ist erstanden

Luther's third Easter chorale is the 1533 "Christ ist erstanden" (Christ is risen), also is a simple (3 stanza) direct Jesus hymn of God's son and the Christian's saviour. It also is based on the original Latin Easter sequence, Victimae paschali / laudes immolent Christiani, with the first German liturgical hymn from the 12th century Leise (Zahn 8584, EKG: 75, https://en.wikipedia.org/wiki/Christ_ist_erstanden). It was first found in Joseph Klug's Geistliche Lieder (Erfurt 1533) and there is a Johann Walther version (https://www.youtube.com/watch?v=q8iBAVwd5sg). Each 4-line stanza closes with plea, “Kyrie eleis” (Lord, have mercy). "It is one of the most beloved Easter hymns, says Mark S. Bighley,⁶ citing Luther's statement: "It time one gets tired of all other hymns, but one must sing "Christ ist erstanden," every year."

Michael Weisse of the Bohemian Brethren wrote a seven-text version to the same melody (https://hymnary.org/text/christus_ist_erstanden_von_des_todesband). Luther's "Christ ist erstanden / Von der Marter alle" (Christ is risen / from all his torments, http://www.bach-cantatas.com/Texts/Chorale090-Eng3.htm, http://www.bach-cantatas.com/CM/Christ-ist-erstanden.htm) is different from Weisse's "Christ ist erstanden, hat überwunden" (Christ is risen, has overcome) to the same melody of Weisse in 13 stanzas, which Bach did not set The Luther chorale is found in the Gotha Witt hymnal of 1715 in a melodic variant and in the Schmelli Gesangbuch No. 323, Easter. It is sung today in English as "Christ is arisen / From death’s bitter prison" (http://www.lutheranchoralebook.com/texts/christ-is-arisen/).

There are settings of Luther's hymn by Ludwig Senfl 1544 (http://imslp.org/wiki/File:PMLP97752-Senfl_Christ_der_ist_erstanden.pdf); Heinrich Schütz, SWV 470 Z(https://www.youtube.com/watch?v=7MsJsbIKihU); Orlando de Lassus 1585 (https://www.youtube.com/watch?v=S2fQQqySUOo); and Michael Praetorius 1619 (http://www.michael-praetorius.de/wp-content/uploads/2011/02/17.035-Halleluja-Christ-ist-erstanden-WEB.pdf, https://www.youtube.com/watch?v=tlLl4OX3qL0). Luther's hymn is found in the NLGB for Easter as No. 99 (https://books.google.com/books?id=UmVkAAAAcAAJ&pg=PA290#v=onepage&q&f=false), while Weisse's is No. 105 (https://books.google.com/books?id=UmVkAAAAcAAJ&pg=PA306#v=onepage&q&f=false).

In Bach's setting of Luther's chorale, it is unusual, having there stanzas each of different poetic meter and different tunes. (http://www.bach-cantatas.com/CM/Christ-ist-erstanden.htm#Wipo1040; text, http://www.bach-cantatas.com/Texts/Chorale090-Eng3.htm). Bach set the hymn as a plain chorale closing Cantata 66 with the final Stanza 3, “Alleluja! Alleluja! Alleluja! / Des soll'n wir alle froh sein” (For this we should all be joyful, http://www.bach-chorales.com/BWV0066_6.htm, https://www.youtube.com/watch?v=n9vA2SaSViY). Bach also set it as a plain chorale, BWV 276 (http://www.bach-chorales.com/BWV0276.htm) and as a chorale prelude, BWV 627, in the Orgelbüchlein, BWV 627 for Easter (https://www.youtube.com/watch?v=Ip2DPIjSj5Q), in a different form from BWV 66/6 and 276. Another chorale prelude version, BWV 746, is attributed to Johann Caspar Ferdinand Fischer (music, https://www.youtube.com/watch?v=fPJO2jJQIWQ).

"Erstanden ist der heil'ge Christ"

"Erstanden ist der heil'ge/Herre Christ" (Arisen is the holy/Lord Christ) is another early Reformation hymn to an anonymous text (http://www.christliche-gedichte.de/?pg=10623, https://www.bach-digital.de/receive/BachDigitalWork_work_00000376?XSL.Style=detail). It is based on a 1372 German translation of Surrexit Christus hodie, from on the associated melody (Zahn 288, 8572b) in the Bohemian Brethren hymnbook 1503/1531/1544, text of ?Johann Horn (c.1485-1547), of 19 stanzas including a dialogue between Mary and the angels at the tomb (Stanzas 7-17), and was found in the Dresden Gesangbuch. It is derived from the Latin hymn Victimae paschali, which also is the basis for Luther's "Christ lag in Todesbanden" and "Christ ist erstanden."⁷ It is found in the NLGB (EG 105) as No. 94 (Easter, https://books.google.com/books?id=UmVkAAAAcAAJ&pg=PA279#v=onepage&q&f=false). It is found in the Schmelli Gesangbuch as No. 326 (Easter, abridged 5 stanzas). Today it is known in English as "The strife is o'er, the battle done" (https://hymnary.org/tune/erstanden_ist_der_heilig_christ, 6 stanzas) or "Jesus Christ is risen today (http://kpshaw.blogspot.com/2013/01/118.html).

Bach set "Erstanden ist der heil'ge Christ" as an Orgelbüchlein Easter chorale prelude (No. 37), BWV 628 (https://www.youtube.com/watch?v=eN1TMuRNAtE), and a plain chorale, BWV 306 (http://www.bach-chorales.com/BWV0306.htm, https://www.youtube.com/watch?v=rh7y9f6NgEA). Another organ chorale prelude, BWV Anh. 51, is doubtful (https://www.baerenreiter.com/shop/produkt/details/BA5290_01/). Other settings include Melchior Vulpius (http://www.christliche-gedichte.de/?pg=10623), a Michael Preatorius sacred song (https://www.youtube.com/watch?v=HsUQWLx3FFw), a Helmut Krebs cantata (https://www.youtube.com/watch?v=dfTEFVK7Cuo), a Dietrich Buxtehude cantata (https://www.youtube.com/watch?v=rCXzdB_oSd4), a Nicholas Bruhns cantata (https://www.youtube.com/watch?v=bTPBwf9x8RA), a Johann Gottfried Walther chorale prelude (https://www.youtube.com/watch?v=G91LibVdmIE).

The hymn Surrexit Christus Hodie (Zahn 291) is based on a 14th century carol melody (Zahn 1746), published in Nurnberg in 1544, with the original, associated melody of 1531. It is found in the NLGB as No. 101a,b (Easter; German, https://books.google.com/books?id=UmVkAAAAcAAJ&pg=PA296#v=onepage&q&f=false; Latin, https://hymnary.org/text/surrexit_christus_hodie). Bach's chorale setting BWV 306, uses the Latin hymn as a 19-stanza setting of the text of Valentine Triller (1493-1573), published in Ein Schlesich singebuchlein aus Göttlicher schrifft (Breslau, 1555), home devotions and children’s hymns for the church year. It is found in the Sebastian Bach Choral Book, No. 63 (Easter) with the alternate melody, "Erstanden ist der herrliche Christ" (Zahn 288, NLGB 101b), in eight variants. The best known setting is Samuel Scheidt (https://www.youtube.com/watch?v=DphCBncBSMY).

Erschienen ist der herrlich Tag

"Erschienen ist der herrlich Tag" (The glorious day has appeared) is a Nicolaus Herman 1560 Easter chorale in 14 four-line (AABB) stanzas, set to the associated melody (Zahn: 1743 EKG: 80), with allusions to the Easter antiphon Ad monumentum venimus from the Visitatio sepulchri.⁸ Herman was the most important hymn-writer for the second Reformation period of consolidation, Lutheran orthodoxy and scholasticism (1577-1617) when the hymnbooks were organized in the current format for the church year and topical themes emphasizing Christian doctrine and church life and work.

Bach set the hymn as a chorale prelude in the Orgelbüchlein (Ob. 38, Easter), BWV 629 and as plain chorales (no. 4) in Cantata 67, "Halt im Gedächtnis Jesum Christ" (Keep in memory Jesus Christ, 2 Timothy 2:8),for Easter Monday 1724, and closing (no. 5) Stanza 14, "Drum wir auch billig fröhlich sein" (Therefore we are rightly joyful), in Cantata 145, "Ich lebe, mein Herze, zu deinem Ergötzen" (I live, my heart, for your delight) for Easter Tuesday 1729.

Heut triumphieret Gottes Sohn

“Heut triumphieret Gottes Sohn” (Today the Son of God triumphs) is the six four-line (AABB) stanza Easter hymn with two refrains of "Hallelujah" of Kaspar Stoltzhagen's 1591 text in Kinderspiegel (Eisleben, 1591), and first published in Bartolomäus Gesius' Geistliche deutsche Lieder (Spiritual German songs, Frankfurt/Oder1601, with the associated melody (Zahn 2585 EG 109).⁹ Stoltzenhagen was a Lutheran pastor at Iglau in Moravia. The text also was attributed to Jakob Ebert and Basilius Förtsch. It is found in the NLGB as 95 (Easter, https://en.wikipedia.org/wiki/Bartholomäus_Gesius) and in the Schmelli Gesangbuch as No 328 (Easter). It was sung in Leipzig in Bach's time at the main morning and vespers services on the third day of Easter and Ascension Day, says Günther Stiller (Ibid.: 87).

Bach set the hymn to conclude the Orgelbüchlein Easter section (No. 39), BWV 630 (https://www.youtube.com/watch?v=osaiWui7kz0), and as a plain chorale, BWV 342 (http://www.bach-chorales.com/BWV0342.htm, https://www.youtube.com/watch?v=eZ10aE--JQo). This setting may have been composed for the lost Emmaus Picander–Jahrgang cantata, "Ich bin ein Pilgrim auf der Welt," BWV Anh. 190, for Easter Monday 1729, using the 3rd verse of "Heut triumphieret Gottes Sohn," "O süsser Herre Jesu Christ" (O fairest Master Jesus Christ; German text and Z Philip Ambrose English translation, http://www.uvm.edu/~classics/faculty/bach/VI.html). In addition, the first five bars are set in the recitative text, No. 5 "Bey Jesu bin ich auch nicht fremde" (With Jesus am I, too, no stranger), preceding the chorale, possibly a fragment in the hand of Emmanuel Bach, on the last side (https://www.bach-digital.de/rsc/viewer/BachDigitalSource_derivate_00004414/db_bachp0670_page014.jpg) of the 1729 wedding Cantata, "Herr Gott, Beherrscher aller Dinge" (Lord God, ruler of all things), BWV 120a.

Other Bach Easter Chorales

Other Bach significant settings of Easter chorales not found in the Orgelbüchlein include: Michael Weisse's 1531 "Christus ist erstanden, hat überwunden" (Christ has risen, has overcome); Nicolaus Selnecker's 1572“Ach bleib bei uns” (Ah, stay with us, Lord Jesus Christ), Nikolaus Herman's 1569 "Wenn mein Stündlein vorhanden ist" (If the hour of my death is at hand), and the Bach household devotional song “Jesu, meine Zuversicht” (Jesus, my confidence). In addition, Bach designated several Easter hymns for inclusion on the Schmelli Gesangbuch with two-part melodies: Paul Gerhardt's

Christus ist erstanden

Bohemian Brethren Michael Weisse's "Christus ist erstanden, hat überwunden" (Christ has risen, has overcome) is an Easter hymn in 13 eight-line stanzas (ABABCCDD) in 1531 with its associated melody (Zahn 6240c http://www.bach-cantatas.com/CM/Christus-ist-erstanden-hat-uberwunden.htm, ) adapted from the c.1090 antiphon Surgit in hac dies (Wackernagel II: 948; text https://www.bach-digital.de/receive/BachDigitalWork_work_00000354?XSL.Style=detail). It is a devotional, reflective view of the personal Jesus. This hymn was published in the Joseph Klug Geistliches Gesangbuch (Wittenberg 1533). It was suggested by the older Luther/Walther hymn, the third stanza, "Christ ist erstanden," "Alleluja! Alleluja! Alleluja! / Des soll'n wir alle froh sein" (For this we should all be joyful), with the closing Leise refrain, "Kyrie eleis" (Lord, have mercy). Weisse also wrote a seven-stanza Easter hymn, "Christus ist erstanden / Von des todes banden" (https://hymnary.org/text/christus_ist_erstanden_von_des_todesband, https://hymnary.org/person/Weisse_M), but not set by Bach.

Bach set it as a plain chorale, BWV 284 (http://www.bach-chorales.com/BWV0284.htm, https://www.youtube.com/watch?v=0TxR4Grc8ag). It is found in the NLGB as No. 105 (Easter, https://books.google.com/books?id=UmVkAAAAcAAJ&pg=PA306#v=onepage&q&f=false) but not in the Schmelli Gesangbuch or the Orgelbüchlein. In English it is known as "Christ the Lord has risen again," of Catherine Winkworth (https://hymnary.org/hymn/LH1941/190).

“Ach bleib bei uns”

The 1572 two-stanza setting of the chorale “Ach bleib bei uns, Herr Jesu Christ” (Ah, abide with us, Lord Jesus Christ, Luke 24:29) is actually two chorales: the first is Philipp Melanchthon's 1551 German version of the Latin antiphon Vespera iam venit, concerning and the scene on the Road to Emmaus, the second is Nikolaus Selnecker’s stanza 1572 setting of Stanza 2, “In dieser letzt'n betrübten Zeit / Verleih uns, Herr, Beständigkeit” (In these last, troubled times / grant us, Lord, constancy), a prayer for Jesus' help in danger. The first stanza first appeared as a broadsheet in 1579, with Nicolaus Herman’s “Danket dem Herrn.” The nine-stanza Seth Clavisius hymn (see http://www.musicanet.org/robokopp/hymn/lordjcwi.htm) was first published in Selnecker’s Geistliche Psalmen (Nürnberg, 1611). Selnecker, a favorite pupil of Melanchton, biography is foundat BCW http://www.bach-cantatas.com/Lib/Selnecker.htm. Both stanzas are found in Bach’s NLGB as No. 303 omnes tempore “The Word of God and the Christian Church," as well as in the Schmelli Gesangbuch as No. 793, Stanzas 8 and 9 of “Danket dem Herrn,” Praise & Thanks songs but not in the Orgelbüchlein.

“Ach bleib bei uns,” is set to the melody (Zahn 439), “Danket dem Herrn heut’ und allzeit” (Thank the Lord today and always), NLGB No. 221 (Easter) from the Geistliche Lieder (Leipzig, 1589), and also with the alternative texts, “Herr Gott, erhalt uns für und für,” “Wir danken dir, O frommer Gott,” and “Hinunter ist der Sonnenschein.” “Ach blieb bei uns” is more appropriate for Reformation celebration or as an Evening Song. Bach set the two stanzas as a chorale aria (no. 3) in 1725 Easter Monday Cantata 6, "Bleib bei uns, denn es will Abend werden" (Stay with us, for evening is coming, Luke 24:29); as an organ trio prelude of the chorale aria in the Schubler Chorales, BWV 649 (https://www.youtube.com/watch?v=icvPfYwx7uc); and as a plain chorale, BWV253 (http://www.bach-chorales.com/BWV0253.htm, http://www.bach-chorales.com/BWV0253.htm), believed to be the setting of the closing chorale of Cantata Anh. 4a, “Wünschet Jerusalem Glück” (Pray for Jerusalem's peace, Psalm 122:6-7), for the second day of the Augsburg celebration, 26 June 1730 (http://www.bach-cantatas.com/BWVAnh4-D.htm) Among other composers' settings are a Johann Michael Bach's cantata (https://carusmedia.com/images-intern/medien/30/3062300/3062300n.gif), a 1746 cantata of Christoph Graupner, GWV 1129/46, for Easter Monday, and Ralph Vaughan Williams' piano setting (https://www.youtube.com/watch?v=bYk9JTJtrFw, https://www.hyperion-records.co.uk/dw.asp?dc=W13099_GBAJY1076714). The English setting is "Lord Jesus Christ, with us abide" (http://www.lutheranchoralebook.com/texts/lord-jesus-christ-with-us-abide/).

"Wenn mein Stündlein vorhanden ist"

"Wenn mein Stündlein vorhanden ist" (If the hour of my death is at hand) is Nikolaus Hermann’s five 7-line (ABABCCD) stanza Death & Dying hymn of 1562 set to the associated melody (Zahn 4482a,b EKG 313), published in (Frankfurt/Main 1569).¹⁰ It was most often sung at Easter Season and designated for the Second and Third Easter Days, particularly after the sermon, the 4th Stanza, "Weil du vom Tod erstanden bist, / werd ich im Grab nicht bleiben: (Since you have risen from death, / I shall not remain in the grave), as well as the 16th Sunday after Trinity emphasis on Death & Dying in the Dresden hymnbooks, says Günther Stiller (Ibid.: 240, 244). It is found in the NLGB as No. 330 (Death & Dying), with six additional stanzas (https://books.google.com/books?id=UmVkAAAAcAAJ&pg=PA849#v=onepage&q&f=false), which are later additions and alterations.

It is found in the Orgelbüchlein Ob. No. 127 (Death & Dying) but not set (hear Richard Gowers setting, https://www.youtube.com/watch?v=U5zPn2QiPqA). Bach in Weimar on Easter Sunday Cantata 31, "Der Himmel lacht! die Erde jubilieret," used the melody as a strings trope in the soprano aria (no. 8), "Letzte Stunde, brich herein" (Last hour, break now upon me), as well as setting the final, fifth verse as the closing chorale, "So fahr' ich hin zu Jesu Christ" (I go then from here to Jesus Christ). Bach used the iconic 4th Stanza as the closing chorale (no. 7) in the 1723 multiple-chorale Cantata 95, "Christus, der ist mein Leben" (Christ is my life) for the 16th Sunday after Trinity. Bach also set the melody in three plain chorales, BWV 428-330 (http://www.bach-chorales.com/BWV0428.htm), one of which was set to the Andreas Kritzelmann’s 1672 text, “Betrübtes Herz, sei wohlgemut” (O troubled heart, be courageous) as No. 13 in Bach's 1731 St. Mark Passion, BWV 247, after Peter's denial in the garden.

Other composers settings include: Hans Leo Haßler 1607 hymn setting, Hieronymus Praetorius 1624 organ Chorale Prelude for Organ, Johann Hermann Schein 1627 hymn setting, Samuel Scheidt 1650 hymn setting (SWV 518), Sebastian Knüpfer Cantata for 4 voices, Daniel Eberlin Cantata for 4 voices, Johann Michael Bach Cantata (lost) for 5 voices, Johann Pachelbel Chorale Prelude for Organ, and Georg Friedrich Kauffmann 1733 Chorale Prelude for Organ.

Jesus, meine Zuversicht

The devotional Easter Song, "Jesu, meine Zuversicht" (Jesus, my Confidence) was popular in the Bach household and is found in the Anna Magdalena Clavierbüchlein about 1722 with the melody set as a three=part chorale prelude, BWV 728 (https://www.bach-digital.de/rsc/viewer/BachDigitalSource_derivate_00003179/db_bachp0224_page045.jpg, https://www.youtube.com/watch?v=lQWQ2jI-YKU). It also was set as a plain chorale, BWV 328 (http://www.bach-chorales.com/BWV0365.htm, and another plain chorale, BWV 145, with a different Easter text, “Auf, mein Herz, des Herren Tag” (see below), music https://www.youtube.com/watch?v=qXMRGdl5UfM). The original 10 six-line (ABABCC) text is attributed to Luise Henriette Brandenburg electress, with the associated melody (Zahn 3432 EG 526) attributed Johann Krüger (http://imslp.org/wiki/File:WIMA.72d0-Jesus-meine-Zuversicht_J.Crueger.pdf),¹¹ published in Christoph Runge’s Geistliche Lieder und Psalmen (Berlin, 1653) and in the devotional Praxis Pietatis Melica (Berlin 1653); details, https://translate.google.com/translate?hl=en&sl=de&u=https://de.wikipedia.org/wiki/Jesus,_meine_Zuversicht&prev=search). It is found in the Schmelli Gesangbuch as No. 332 (Easter).

"Jesu, meine Zuversicht" became quite popular in the 19th century as a Protestant funeral song because of it resurrection associations, most notably as a choral setting of Felix Mendelssohn (https://www.youtube.com/watch?v=18QexH7rw-Y). Other settings include Johann Gottfried Walther's chorale prelude (https://www.youtube.com/watch?v=FTAPPkx6oMQ), Michael Gotthard Fischer chorale prelude (http://imslp.org/wiki/File:PMLP165705-Fischer_M_G_Jesus_Zuversicht.pdf), Carl Lowe chorale setting (http://www.musicalion.com/de/scores/noten/607/carl-loewe/24683/jesus-meine-zuversicht-choral), Johann Christoph Kellner organ prelude (http://imslp.org/wiki/File:WIMA.6283-Kellner_Choral.pdf), S.M. D. Gattermann chorale prelude (https://www.youtube.com/watch?v=GfVaPhQcork), and Max Reger chorale prelude (http://balonred.com/basegawal.pdf_. It is best known in English as "Jesus Christ., my sure defen" by Catherine Winkworth.

“Auf, mein Herz, des Herren Tag”

Caspar Neumann’s 1700 nine-stanza (ABABCC) Bar Form Easter hymn, “Auf, mein Herz, des Herren Tag” (Up, my heart, the Lord's day), is set to the melody (Zahn 3432),“Jesu, meine Zuversicht” (Jesus, my trust) of Johann Krüger, published in Praxis Pietatis Melica (Berlin, 1653).¹² Neumann's setting was published in published in the Breslau Vollstandige Kirchen- und Haus-Music (Breslau, c. 1700) but is not found in the Schmelli Gesangbuch. Neumann's "Liebster Gott, wann werd ich sterben" (Loving God, when will I die?) is a pietist funeral chorale set by Bach as a 1724 chorale Cantata BWV 8 for the 16th Sunday after Trinity.

The Cantata 145 opening chorale is a setting of Emmanuel Bach to Cantata 145a, a pasticcio work (http://www.bach-cantatas.com/BWV145-D4.htm, https://www.youtube.com/watch?time_continue=97&v=uNuDa7tkGpU), with an added opening chorale and Telemann fugal chorus, not by Bach (http://www.bach-chorales.com/BWV0145a.htm, http://www.bach-cantatas.com/Scores/BWV145-V&P.pdf). The opening four-part chorale, Caspar Neumann’s 1700 “Auf, mein Herz, des Herrn Tag” (Up, my heart, the Lord's day), melody “Jesu meine Zuversicht,” BWV 145/a, is attributed to Emanuel Bach (see Bach Digital, https://www.bach-digital.de/receive/BachDigitalWork_work_00010584, https://www.bach-digital.de/receive/BachDigitalSource_source_00001018). Emanuel was presumably responsible for making the extended version of the cantata during his period as director of music in Hamburg (after 1768). The Krüger melody is set as a plain chorale, BWV 365 in C Major (https://www.youtube.com/watch?v=vcXVs32bMfY, http://www.bach-chorales.com/BWV0365.htm).

Auf! Auf! mein Herz mit Freuden

“Auf! Auf! mein Herz mit Freuden” (Rise, rise, my heart with Joy) is Paul Gerhardt's popular 1647 Easter song in nine eight line (AABBCCDD) stanzas, set to the associated melody (Zahn 5243) of Johann Krüger and published in Praxis Pietatis Melica (Berlin, 1653; https://www.youtube.com/watch?v=Q2EVAaRFznM).¹³ It is a personal meditation on the resurrection, with Gerhardt's typical emphasis on "joy in the midst of the devastating experiences of everyday life," says Don Hougard.¹⁴ Among Bach's 22 settings of Gerhardt's hymns is the Schmelli Gesangbuch version No. 320 (Easter), BWV 441 (Stanzas 1, 7, 9 https://www.youtube.com/watch?v=Hj65lR5hLUE). It is known in English as "Awake my heart with gladness." Best known are Gerhardt's settings of Passion hymns "O Haupt voll Blut und Wunden" (O sacred head now wounded), "Ein Lämmlein geht und trägt die Schuld" (A Lambkin goes and bears the guilt), and “O Welt, sieh hier dein Leben” (O World, see here thy life).

Jesus, unser Trost und Leben

“Jesus, unser Trost und Leben” (Jesus our comfort and our life) is the Ernst Christoph Homburg eight 6-line (AABBCC) stanza Easter song of joy and redemption with closing "Alleluja!," published in his Geist­lich­er Lied­er (Je­na, Naum­burg 1659) and set to the anonymous melody (Zahn 4918) "Auf, auf, weil der Tag erschienen," published in the Freylinghausen Geistriches Gesangbuch (Halle 1714).¹⁵ Best-known are Bach's settings of Homberg's Passion hymn "Jesu, Mein­es Le­bens Le­ben," known in English as "Christ, the Life of All the Liv­ing," Stanza 4 “Man hat dich sehr hart verhöhnet” (Man has scorned you very hard), in the St. Mark Passion, BWV 247, and the chorale verse 4 of "Ist Gott mein Schild und Helfersmann" (If God is my protection and faithful Shepherd), closing Cantata 85, "Ich bin ein guter Hirt" (I am a good shepherd), for the 2nd Sunday after Easter (Misericordias Domini) 1725. Bach set the “Jesus, unser Trost und Leben” melody/figured bass in the Schmelli Gesangbuch, No. 333 (Easter), BWV 475 (https://carusmedia.com/images-intern/medien/00/0505200/0505200x.pdf, https://www.youtube.com/watch?v=1IhON98Yk8A).

Kommt, wieder aus der finstren Gruft

“Kommt, wieder aus der finstren Gruft” (Come, return from the dark crypt) is the Valentin Ernst Löscher 1713 Easter Song in seven 7-line (ABABCCD) stanzas set to the corresponding melody (Zahn 4709), with figured bass first published in the Schmelli Gesangbuch, No. 938 (Appendix).¹⁶ This personal song emphasizes Christ's victory over death and the Christian's joy. Bach setting is BWV 480, with the BWV deest/Wiemer 10 (Stanza 7), https://www.youtube.com/watch?v=XzOg0iyX2qA (Stanzas 1, 6, 7). The "stanzas were to be sung in alternation with the stanzas of Heut triumphieret Gottes Sohn," says Robin A. Leaver.17 These published new tunes were meant to compliment older chorales and "could not easily be found elsewhere." The 69 melodies Bach selected for the Schmelli Gesangbuch, BWV 439-506 were a later addition to a well-ordered church music and could be part of Bach's fourth collection of church music of sorrow and joy, first discussed length in Charles S. Terry's "The Hymn Tunes used by Bach," in Bach’s Chorals, Vol. 2 The Hymns and Hymn Melodies of the Cantatas and Motetts, 2018: 56ff).

FOOTNOTES

¹ See BCW Motets & Chorales for Easter, http://www.bach-cantatas.com/LCY/M&C-Easter.htm, https://en.wikipedia.org/wiki/Gottfried_Vopelius#p._125.
² Günther Stiller, Johann Sebastian Bach and Liturgical Life in Leipzig, ed. Robin A. Leaver, trans. Herbert J. A. Bouman etc (St. Louis: Concordia Publishing 1984: 239f).
³ Helmut Rilling, https://www.youtube.com/watch?v=XMyCTjCvo5o&t=26s, http://www.bach-cantatas.com/Vocal/BWV250-438-Rilling.htm, CH-7.
⁴ “Jesus Christus, unser Heiland, der den Tod überwand,” English translation George Macdonald, http://oll.libertyfund.org/titles/bach-bachs-chorals-vol-3-the-hymns-and-hymn-melodies-of-the-organ-works: 75; Various melodies and English translation, Charles S. Terry, The Four-Part Chorales of J. S. Bach (London: Oxford University Press 1919, No. 219).
⁵ Source: The Hymns of Martin Luther, ed. Peter C. Reske (St. Louis MO: Concordia Publishing, 2016: 18).
⁶ Mark S. Bighley, The Lutheran Chorales in the Organ Works of J. S. Bach (St. Louis MO: Concordia Publishing, 1986: 47).
⁷ Bach Commentary: Charles S. Terry, http://oll.libertyfund.org/titles/bach-bachs-chorals-vol-3-the-hymns-and-hymn-melodies-of-the-organ-works; Walter Blankenburg, http://www.quatember.de/J1937/q37086.htm.; and Peter Williams, https://books.google.com/books?id=gTXxUk1LAowC&pg=PA290&lpg=PA290&dq=erstanden+ist+der+heilige+christ+Terry&source=bl&ots=yaZZKBee7s&sig=wS5H3kpEmDW6aygMkjiFVzI_BxE&hl=en&sa=X&ved=0ahUKEwig5LXFoKbaAhUP2lMKHZltCjAQ6AEIXzAK#v=onepage&q=erstanden%20ist%20der%20heilige%20christ%20Terry&f=false.
⁸ Nicolaus Herman (c1480-1561), BCW http://www.bach-cantatas.com/Lib/Herman-Nikolaus.htm, https://en.wikipedia.org/wiki/Nikolaus_Herman#Hymns); BCW German text and Paul Farseth English translations, http://www.bach-cantatas.com/Texts/Chorale091-Eng3.htm; BCW melody information, http://www.bach-cantatas.com/CM/Erschienen-ist-der-herrlich-Tag.htm).
⁹ “Heut triumphieret Gottes Sohn,” German Text (http://www.christliche-gedichte.de/?pg=10627); English translation, http://www.lutheranchoralebook.com/texts/this-day-in-triumph-god-the-son/, adds 4th stanza. "Here is certainly nothing but care and misery" (Hier is dich nichts den Angst und Noth); melody information, see Terry (http://oll.libertyfund.org/titles/bach-bachs-chorals-vol-3-the-hymns-and-hymn-melodies-of-the-organ-works), and Peter Williams (https://books.google.com/books?id=gTXxUk1LAowC&pg=PA292&lpg=PA292&dq=Heut+triumphieret+Gottes+Sohn+Peter+Williams+Organ+Music&source=bl&ots=yaZZLB9i6r&sig=rT7VbGt1Zf37qSI0wkRbLuTVmJI&hl=en&sa=X&ved=0ahUKEwjX0pjyg6naAhWS7VMKHQjmBNYQ6AEIPTAE#v=onepage&q=Heut%20triumphieret%20Gottes%20Sohn%20Peter%20Williams%20Organ%20Music&f=false.
¹⁰ "Wenn mein Stündlein vorhanden ist," German text and Francis Browne English translation, BCW http://www.bach-cantatas.com/Texts/Chorale040-Eng3.htm); melody information and other composers uses, BCW http://www.bach-cantatas.com/CM/Wenn-mein-Stundlein.htm.
¹¹ Johann Krüger (1598-1662), https://hymnary.org/person/Cruger_Johann. German text, http://www.musicanet.org/robokopp/Lieder/jesusmez.html; English translation, http://www.lutheran-hymnal.com/lyrics/tlh206.htm.
¹² Caspar Neumann (1648-1715) BCW http://www.bach-cantatas.com/Lib/Neumann.htm; Cantata 145 details, http://www.bach-cantatas.com/Ref/BWV145-Ref.htm, http://www.bach-cantatas.com/BWV145-D4.htm, https://en.wikipedia.org/wiki/Ich_lebe,_mein_Herze,_zu_deinem_Ergötzen,_BWV_145); German text https://www.flickr.com/photos/51243943@N00/4498764713; Stanza 1, Francis Browne English translation: "Up, my heart, the Lord's day / has driven away the night of fear / Christ, who lay in the grave, / has not remained in death / From now on I am wholly comforted / Jesus has redeemed the world."
¹³ Paul Gerhardt (1607-1676), BCW http://www.bach-cantatas.com/Lib/Gerhardt.htm; German text, http://www.bach-cantatas.com/Texts/Chorale128-Eng3.htm); English translation, http://www.lutheran-hymnal.com/lyrics/tlh192.htm (omits original stanza 3, "Der Held steht auf dem Grabe" (The hero stands above the grave); melody information, BCW http://www.bach-cantatas.com/CM/Auf-auf-mein-Herz-mit-Freuden.htm; source, https://www.bach-digital.de/receive/BachDigitalWork_work_00000511.
¹⁴ Don Hougard, "Paul Gerhardt: The Singer of Comfort, Hope, and Peace in Christ, His Life and Summaries of Seventeen of His Hymns" (http://www.evangelischeandacht.org/Gerhardt-Book.pdf: 38f).
¹⁵ Ernst Christoph Homberg (1605-1681), BCW http://www.bach-cantatas.com/Lib/Homburg.htm; German text, BCW http://www.bach-cantatas.com/Texts/Chorale475-Eng3.htm; English (on-line) translation, https://translate.google.com/translate?hl=en&sl=de&u=http://www.bach-cantatas.com/Texts/Chorale475-Eng3.htm&prev=search; melody information http://www.bach-cantatas.com/CM/BWV475.htm.
¹⁶ Valentin Ernst Löscher (1673-1749), BCW http://www.bach-cantatas.com/Lib/Loscher-Valentin-Ernst.htm; German text BCW http://www.bach-cantatas.com/Texts/Chorale480-Eng3.htm; English (on-line) translation, https://translate.google.com/translate?hl=en&sl=de&u=http://www.bach-cantatas.com/Texts/Chorale480-Eng3.htm&prev=search ; melody information, http://www.bach-cantatas.com/CM/BWV480.htm.
¹⁷ Robin A. Leaver, "Bach's Figured Bass Chorales in Leipzig," in Chapter 14, "Chorales," Routedge Research Companion to Johann Sebastian Bach, ed. Leaver (London & New York: Routledge, 2017: 370)

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To Come: First Sunday after Easter (Quasimodogeniti): Motets and Chorales, Cantatas of Bach and Other Composers.