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William L. Hoffman wrote (July 25, 2017):
Luther’s Catechism chorales, especially those for Confession and Communion, found great expression and sustenance for the two hundred years that brought Bach’s tenure to Leipzig, particularly in the aftermath of the 30 years war and the pestilence that followed in Saxony. Bach came during a great outpouring of faith that witnessed both the prosperity of the commercial center and the phenomenal growth of the Lutheran church. Bach’s first celebration there as cantor and music director was the 1724 Bicentenary of the printing of the first church hymnbooks, responding with a unique chorale cantata cycle. While the earliest catechism chorales had formed the backbone of congregational participation in the services, these Lutheran settings also provided liturgical, theological, didactic, and spiritual nourishment.
Eventually, Bach produced a plethora of almost 500 sacred song settings for almost all his vocal works, as well as for liturgical and devotional practices. In the Lutheran hymnbooks in Bach’s day, the penitential and communion hymns generally followed the initial Trinity Time (omne tempore) liturgical and catechism settings. They were Christological
themes derived from the psalms of penitence and ritual-sacrificial expression in festal repast, born of the peoples’ breaking the covenants and seeking restoration, as well in psalms of praise and thanksgiving. Luther’s Deutsche Messe also designated specific psalm chants in the Mass, Psalm 34 Benedicam Dominum for the opening Introit, and Psalm 111, Confitebor tibi, for Communion. For the opening Introit in Leipzig, Bach used the Erhard Bodenschatz Florilegium Portense collection of composers’ Psalm settings as polyphonic motets, notably Heinrich Schütz, who set all the psalms in Latin and German. Another category of Reformation hymns were psalms of various types increasingly popular in the category “The Church Militant,” especially in hymnbooks in pietist communities such as Halle and Gotha: Psalms 6, 12, 14, 23, 46, 67, 86, 121, 124, 127, 136, 150.
The earliest Lutheran hymns centered on liturgical catechism and Mass topics, 13 of Luther’s 43 hymns. Penitence and communion also were important, and eventually produced Geistreiche alt und Neue Gesänge, Welche bey Der Beicht und Communion . . . (Nuremberg 1724) and Bach’s Schemelli-Gesangbuch of 1736, observes Robin A. Leaver.1 Meanwhile, between the Epistle and Gospel came reform Gradual (Sequence) Songs focusing on church year topics with the Hymn of the Day (de tempore) for the Christological feasts during then life of Christ and Ordinary time (omne tempore) themes on the life of the church. Eventually, for each of the the year’s Sunday and feast day services, hymnbooks would designated the Hymn of the Day and hymns for the pulpit (sermon) and communion. Most of the catechism hymns were also sung as Graduallieder assigned for specific days in the church calendar,” says Leaver (Ibid.: 167).
Beginning with the hymns of Luther, the focus was based on the catechism teachings of penitence and communion, bound together as the sustaining, essential observances of the faithful. Confession came during the first half of the Deutsche Messe, when the people sang the hymns affirming the word through the day’s Gospel and Epistle leading to the sermon and followed by corporate confession and absolution. Communion came during the second half of the main service when the sacrament was celebrated and the entire congregation came forward to receive the eucharist, all the while chorales were sung and concerted music performed. The hymnbooks listed and prescribed the hymn of the day and the designated special pulpit and communion hymns, as well as standard communion and liturgical hymns for both the main morning and afternoon vesper services. On feast days in Leipzig, special concerted music was added, the Latin Kyrie-Gloria, BWV 233a-236, and Sanctus, BWV 237-241, at the main and vesper services, and Latin or German settings of the Magnificat at the vesper service, BWV 243 and BWV 10, respectively.
One of Luther’s first hymns in 1523 was his “Aus tiefer Not schrei ich zu dir” (From deep affliction I cry out to you), his German paraphrase of most penitential Psalm 130, De profundis clamavi (Out of the depths have I cried unto thee, KJV, https://www.biblegateway.com/passage/?search=Psalm+130&version=KJV, https://www.youtube.com/watch?v=8ihj4FDABv0). Rejecting the Catholic liturgical Confiteor but accepting public and private confession, Luther instead turned to the Old Testament penitential psalms. He suggested setting Psalm 6, Domine, ne in furore; Psalm 143, Domine, exaudi; and Psalm 32, Beats quorum; or Psalm 51, Miserere mei, In 1524, which Erhart Hegenwalt set as “Erbarm dich mein, O Here Gott” (Have mercy on me, O God) to a Johann Walther melody “that was later closely associated with Luther’s Psalm 130 setting. The other penitential psalms are Nos. 38, and 102. Meanwhile Lazarus Spengler also in set Psalm 130, “1524 wrote “Durch Adams Fall ist Ganz verderbt, (Through Adam’s fall is completely corrupted).
Penitence-Communion Connections
Luther believed that penitence was essential to all believers. “Such confession was simultaneously a realization of the sacrament of baptism, and a preparation for the sacrament of the altar,” observes Leaver (Ibid.: 149). For its was Luther who said famously, we are “Simul Justus et Peccator,” “simultaneously saints and sinners.” Confession, which Luther called there “Office of the Keys,” rather than a sacrament, is in two parts: confessing sins and receiving absolution, that is forgiveness. Luther rejected the Catholic Canon, the long observance of the institution of communion in the Mass Ordinary in favor of the Verba testament, Christ’s words of institution in all three synoptic Gospels at the Last Supper with his disciples before his Passion. It is “Christ’s testament, that is, a promise of the remission of sins which was sealed by Christ’s death, and it is at the same time the distribution and partaking of the body and blood,” says Leaver (Ibid.: 189).
Also in 1523 when the first chorales were written by Luther and his circle, three Lord’s Supper hymns were established. Luther’s Catechism: Communion hymn is “Jesus Christus, unser Heiland, der von uns den Gotteszorn wandt” (Christ Jesus, our Redeemer born, / Who from us did God's anger turn). The Luther/Walther “Gott set gelobet und gedenedeit” (Let God be blessed, praised, and thanked) is another Catechism: Communion hymn. The Communion setting of Psalm 111, Confitebor tibi, is the anonymous “I will praise the Lord with my whole heart” in chant and response, printed with English translation in Ulrich Leupold's “The Communio.”2
In Lutheran theology and practice, confession/repentance and communion were inextricably lined, although more rigidly and dogmatically in Catholicism. Penitential (Confession) and Communion chorales soon became the spiritual backbone of the omnes tempore (Ordinary Time) section of the Lutheran hymnal, following the Catechism hymns.
The ten stanzas of “Jesus Christus, unser Heiland,”explain the foundation, essence, and use of the sacrament, followed by the closing summary of the consequences for the believer. The hymn is rooted in the Christological principles of the Theology of the Cross as atonement and the Justification of Christ’s “actual” presence in the Supper and his sharing to all believers — concepts that continue to be debated today. Luther also explains that communion leads “to the response of praise and thanksgiving,” that it is partaken in “faith and then to express the fruits of faith in love to others,” says Leaver (Ibid.: 159).
At the same time, “Nun freut euch lieben Christen gmein" (Dear Christians one and all rejoice) initially was written as a Gradual hymn with its catechetical emphasis on justification and communion. In thestyle of a Meistersinger Bar form song, it is a confession of faith involving Luther’s doctrine of justification and his distinction between Law and Gospel. “It is a hymnic expression of Pauline theology,” a commentary on the first eight chapters of Paul’s Letter to the Romans, says Leaver (Ibid.: 163). Many of its principles are embodied in Philipp Melanchthon’s Augsburg Confession of Lutheran belief in 1530, which Leipzig and Bach celebrated in the Bicentenary with three days of services, 25-27 June 1730. It is listed in the Orgelbüchlein as No 85 for Communion but set as a plain chorale, BWV 388, and as an organ prelude, BWV 734. In Bach’s Das Neu Leipziger Gesangbuch (NLGB) of 1682, it is a Catechism Justification hymn, No. 232 (Zahn 4429a), appropriate for the 17th Sunday after Trinity.
Leipzig Confession-Communion
In Bach’s Leipzig, the practice of confession and communion had grown steadily with more confessors and communion attendance greatly expanded, says Günther Stiller,3 until it took two hours in the Sunday and feast day main services, ample opportunity for Bach to present a second cantata. Public confession took place just after the sermon and just before the service of communion. Meanwhile, because communion always was preceded by confession, personal confession was held all day on Saturdays and Tuesday afternoons at Leipzig leading churches, St. Niklaus and St. Thomas (Stiller, Ibid.: 44f. Penitential vesper services were held on Friday afternoons, with special liturgy, biblical readings, a sermon, and penitential chorales.
“This well-known growing regard of Bach’s for the Sacrament of the Altar is further underlined by the fact that Bach also pointed to Holy Communion by means of his large selection of hymns that speak of sin and repentance, for “the justification of the sinner on which the sacrament sets its seal,” “always “presupposes knowledge and acknowledgement of sin,” so that “the warning and searching of conscience . . . is an indispensable prerequisite of the offer of the sacrament,” says Stiller (Ibid.: 140). At St. Thomas, Bach had a designated father confessor, first Pastor Christian Weisse Sr. until his death in 1736, followed by Subdeacon Romanus Teller (1738-40), Johann Paul Ram (1740-41 and then Archdeacon Christoph Wolle in 1741 until Bach’s death,” says Stiller (Ibid.: 203f).
Bach’s setting of penitential chorales is found throughout his cantatas, plain chorale liturgical settings and organ chorale preludes in his NLGB of 1682, and sacred songs in his Schmelli Gesangbuch (SG) of 1736. In his Orgelbüchlein III chorale preludes collection (OB) Bach designated but set only two of 12 penitential hymns (Nos. 76-77) but later composed free-standing plain chorales (PC*), possibly for liturgical purposes, organ chorale preludes (Neumeister Collection NC, MC Miscellaneous Chorales, KC Kirnberger Collection), and other settings such as chorale cantatas (CC), listed in the following:
Penitence and amendment (Confession, Penitence & Justification) see also Lent (Passiontide)
67. “Aus tiefer Noth schrei ich zu dir”[Psalm 130]; CC BWV 38 (Tr.21), BWV 686-7 (OBIII), BWV 1099(NC); NLGB No. 270 Christian Life: Psalm setting); NLGB Trinity 11and 19, 21, 22
68. “Erbarm’ dich mein, O Herre Gott” (Psalm 51); BWV 305(PC*), 721(MC); NLGB 256: Psalm; NLGB Tr. 3, 1114, 22;
69. “Jesu, der du meine Seele”; BWV 352-4(PC*), BWV 752(MC); No NLGB
70. “Allein zu dir, Herr Jesu Christ”; CC BWV 33 (Tr.13), BWV 261(PC*), BWV 1100 (NC); NLGB 178 Catechism: Confession
71. “Ach Gott und Herr, wie groß un. schwer”; BWV 48/3, 255(PC), BWV 692-3(KC, J. G. Walther); BWV 714 (MC/NC) (https://www.youtube.com/watch?v=sZp3niMsLY8). NLGB No. 180 Catechism: Confession
72. “Herr Jesu Christ, du höchstes Gut”; CC BWV 113 (Tr.11), BWV 334(PC*); ?BWV1114(NC); NLGB 181
73. “Ach Herr, mich armen Sünder,” melody “Passion Chorale”; [Psalm 6] CC BWV 135 (Tr.3), BWV 270-71(PC*), BWV 742(MC/NC); NLGB 246 Christian Life: Psalm setting; Trinity 3 in Dresden hymn books.
74. “Wo soll ich fliehen hin”; CC BWV 5 (Tr.19), BWV646(SC)=188/6, 694(KC); cf.”Auf meinen lieben Gott,” OB136; NLGB 182 Catechism: Confession; NLGB Trinity 3;
75. “Wir haben schwerlich” (no NLGB); Gotha version (1715, http://www.orgelbuechlein.co.uk/wp-content/uploads/2011/12/75-Wir-haben-schwerlich.pdf), from 5-part setting in Gotha (1648), Zahn 2099;
76. BWV 637 — Durch Adams Fall ist ganz verderbt; BWV 705(KC); 1101(NC), alt. mel. “Ich ruf zu dir, H.J.C.” (see OB 91, Christian Life, BWV 639; NLGB 229 Catechism: Justification; NLGB Trinity 9, 12, and 18.
77. BWV 638 — Es ist das Heil uns kommen her; CC BWV 9 (Tr.6), also Communion OB; NLGB 230 Catechism Justification; NLGB Trinity 6, 11, 13, and 18.
Penitential chorales were most appropriate in the church year for the omnes tempore Sundays after Trinity (now Sundays after Pentecost), particularly for the middle and late Sundays as found in then NLGB, although Bach was somewhat flexible in his choices. Meanwhile, these chorales could serve for penitential and confessions services in the Lutheran church. Besides Luther’s Psalm 130 paraphrase, “Aus tiefer Not schrei ich zu dir,” as a Catechism: Confession chorale,
Bach set Luther’s biblical translation, “Aus der Tieffen(r) rufe ich” (Out of the depth I cry) as a vocal concerto, Cantata BWV 131, probably for a Mühlhausen penitential service by 25 June 1708.4 Cantata 131 is interspersed with the soprano melody of two verses from Bartholomäus Ringwaldt’s 1588 “Herr Jesu Christ, du Höchstes Gut” (Lord Jesus Christ, thou highest good), Catechism: Penitential Chorale (see above OB No. 72). Bach also set the melody as a plain chorale, BWV 334 https://www.youtube.com/watch?v=JIpV6dN57Rg). Chorale “Aus der Tiefe rufe ich” is found in the NLGB as No. 366 (Death & Dying) but not set and an eight-stanza penitential hymn of Georg Christoph Schwämlein under the rubric “On repentance” in the Vermehrtes Gesangbüchlein (Halberstadt 1673, Fischer Tümpel V:322), the basis of the apocryphal organ chorale prelude, BWV 745, with its jaunty galant allemande, now attributed to son Emmanuel (https://www.youtube.com/watch?v=6kCWuV4gMrI).
Besides being sung during Trinity Time, penitential chorales were appropriate for Lent and the NLGB lists “Erbarm dich mein, O Here Gott,” for Reminiscere and Occuli Sundays, and “Ein feste Burg its unser Gott,” Luther’s Psalm 46 paraphrase, for the latter Sunday. Meanwhile Penitential Service was held on Fridays in Leipzig as a preaching service of the word, says Stiller (Ibid.: 114). The weekly service began with the opening hymn, Gregorian antiphon “Aufer a nobis Domine,” or the German vernacular “Nimm von uns, Herr Gott” (Take from us, Lord God), NLGB No. 177, Catechism: Confession (Zahn 8599). The response occurs in the Latin Mass Ordinary after the Confiteor and before the Kyrie eleison and the translation is: “Take away from us our iniquities, we implore Thee, Lord, that with pure minds we may worthily enter into the holy of holies: through Christ our Lord. Amen.” The opening was followed by chanting Luther’s German Litany, Kyrie eleison (NLGB No. 307, followed by penitential hymns interspersed with the Lord Prayer and other prayers and biblical readings, the sermon, Collect, and Benediction. During Lenten days of penitence and prayer only preaching services were held in the forenoon with the opening hymns “Nimm von uns Herr du Treuer Gott” (NLGB 316, Word of God) and “Ach Gott thu dich erbarmen” (NLGB 396, liturgy), with “Allein zu dir Herr Jesu Christ after the Collect chanted at the altar, and “Du Friedefürst Herr Jesu Christ” (NLGB 832, Word of God) after the readings, and then the sermon.
Penitential Songs, Psalms
A category of mostly pietist penitential songs and psalms, none found in the NLGB or listed in the Orgelbüchlein but many in the 1736 Schemelli Gesangbuch (SG), was set by Bachas plain chorales and Freylinghausen pietist-style sacred song settings; once as a chorale cantata, BWV 115, “Mache dich, mein Geist bereit”; as a plain chorale, “Herr, ich habe Mißgehandelt,” in the St. Mark Passion; and as a German paraphrase of Psalm 51, “Tilge, Höchester, meine Sunden,” a 1740s contradiction of Pergolesi’s Stabat Mater.
+ “Ach, was soll ich Sünder machen?” (Ah, what shall I poor sinner do?), Johann Flittner (1661); NLGB 389 (“Death & Dying”), BWV 259(PC); BWV 770 (Chorale partita; also SG No. 66 (tuneless);
+ “Christe, du Beistand deiner Kreuzgemeine” (Christ, defender of your congregation) Matthäus Appelles von Löwenstein (Justification & Penance, no NLGB), BWV 275(PC);
+ “Eins ist not! ach Herr, dies eine” (One thing I lack, O lord) text Johann Heinrich Schröder, melody Freylinghausen (Halle), 1704; BWV 304(PC) (Zahn 7127), BWV 453 (SG No. 112)
+ “Erwürgtes Lamm, das die verwahrten Siegel” (Slain lamb, who broke the kept seals), text U.B. v. Bonin (1704), melody Freylinghausen (Halle) 1704; BWV 455(SG Bußlieder);
+ “Herr, ich habe Mißgehandelt” (Lord, I have done wrong), text Johann Franck (1674), moody Johann Crüger (Berlin 1649); BWV 330-31(PC)=?BWV 247/32
+ “Herr, nicht schicke deine Rache” (Psalm 6, Domine, ne in furore, Lord, rebuke me not in thine anger, NLGB 245); BWV 463(SG, Bußlieder);
+ “Mache dich, mein Geist bereit” (Make yourself ready, my spirit), text Johann Burchard Freystein 1697), melody Johann Georg Albinius “Straf mich nicht in deinem Zorn” (Psalm 6); CC BWV 115 (Tr.+22);
+ “Mein Jesu, dem die Seraphinen”; BWV 486(SG);
+ “Wo ist mein Schäflein, das ich liebe”; BWV 507(SG); and
+ “Tilge, Höchester, meine Sunden” (Psalm 51), motet contrafaction; Pergolesi Stabat mater, Vesper hymn, BWV 1083.
Throughout his career, Bach composed various settings for memorial services, including early sacred concertos (BWV 106, 131), for royalty (BC B-12, BWV 244a, BWV 197), and BWV 157, as well as motets (BWV 226-230, 118). While no order is found for these services, except for BWV 244a in Cöthen, these services of the word often were held in Leipzig at Sunday vespers and resembled Good Friday vespers with hymns, music before and after the sermon on a biblical reading, often a penitential psalm. Luther had eschewed the Latin setting of the Missa pro defunctis, the Requiem, but accepted chorales at church services and graveside.
Communion
Luther’s rejection of the Latin Mass Eucharistic Prayer in favor of the verba testamenti, Christ’s words of institution at the Last Supper, emphasized his “understanding of the sacrament — not an offering to God but rather an offering from God who, in the proclamation of the Gospel, offers forgiveness and grace,” says Leaver (Ibid.: 179). Luther saw the Lord’s Supper in his catechism hymn, “Jesus Christus, unser Heiland” (https://en.wikipedia.org/wiki/Jesus_Christus,_unser_Heiland,_der_von_uns_den_Gotteszorn_wandt), as the “surety of God’s grace in forgiveness: the Supper is grounded in the Passion of Christ (st. 1-2, 4, 6); it is to be received by faith (st. 3, 5); and Christ’s invitation to participate is expressed in scriptural paraphrase, which simultaneously warns against justification by works (st. 7, 8),” Leaver observes (Ibid.: 156).
Seven communion hymns established the repertory of congregational chorales sung in Leipzig during Sunday communion, says Stiller (Ibid.: 128): the three Lutheran core hymns, “Jesus Christus, unser Heiland” (NLGB No. 194), “Gott set gelobet und gedenedeit” (Let God be blessed, praised, and thanked, NLGB No. 185); and “Nun freut euch lieben Christen gmein;” “Wo soll ich fliehen hin” (Where shall I flee hence?), a Catechism: Penitence hymn (NLGB No. 232, Catechism: Justification); the Luther-Matthias Greiter 1524 setting of Psalm 67, “Es wolle Gott Es woll' uns Gott genädig sein (May God be gracious to us), a community song of thanksgiving (NLGB 258, Christian Life); “Nun lob, mein' Seel', den Herren” (Now praise, my soul, the Lord), Psalm 103 hymn of thanksgiving paraphrase (NLGB No. 261, Christian Life); and “Der Herr is mine getreuer Hirt” (The Lord is my true shepherd), paraphrase of Psalm 23 hymn of trust (NLGB No. 251, Christian Life.
“Gott set gelobet und gedenedeit” (Let God be blessed, praised, and thanked) listed in the Orgelbüchlein as No. 70 for Communion but not set while he did set it as a plain chorale, BWV 322 (https://www.youtube.com/watch?v=9qfbLwB8GRM, https://www.youtube.com/watch?v=xxY4Fqp4xqw, https://en.wikipedia.org/wiki/Gott_sei_gelobet_und_gebenedeiet). It is found in the NLGB as No. 185, as a Catechism Communion chorale.
The last three standard communion hymns are found in the NLGB under the rubric “Christian Life & Conduct,” where psalms of praise and thanksgiving are set as chorale paraphrases, following the last Catechism category of Justification.”
The 14 Holy Communion Psalms are: 8, 15, 20, 23, 30, 42, 67, 84, 92, 103, 111, 117, 121, and 146. In Bach’s NLGB the communion hymns are found in the omne tempore section, under the rubric of Catechism hymns as well as “Christian Life and Conduct.” In Bach’s Orgelbüchlein they are designated together as chorales for the Lord’s Supper, following hymns for “Confession, Penitence and Justification” beginning the omne tempore Catechism section. In Weimar, Bach had set most of the chorale in the de tempore section but almost none in the Ordinary Time section, for example none of the nine Communion hymns (Nos. 78-86, see following) in the Orgelbüchlein (Ob.).
78. “Jesus Christus, unser Heiland, der von uns” (Liturgy); BWV 363(PC), BWV 665-66, 666a (Great 18), 688-9(CU), BWV deest (Emans NBA IV/10:209, ? BWV 429);
79. “Gott sei gelobet und gebenedeiet”; BWV 322;
80. “Der Herr ist mein getreuer Hirt” (“…dem ich” Becker, Psalm 23, NLGB 252, Zahn 4432a) BWV PC104/6; “…halt mir,” PC 112/5); melody, “Allein Gott in der Höh' sei Ehr'” (NLGB 145, Z4457 See OB 53 (Trinity);
81. “Jetzt (Ich) komm ich als ein armer Gast” (melody “Herr Jesu Christ, du höchstes Gut,” Zahn 4646; OB 72 Penitential, see above, )
82. “O Jesu, du edle Gabe”/“Sei gegrüßet Jesu gütig” (Zahn 3892b); BWV 768(CP), See OB 163 Appendix (Eternal Life).
83. “Wir danken dir, Herr Jesu Christ, dass du das Lämmlein worden bist” (Zahn 47 9/480); ?BWV1096(NC) (see OB 26, Passiontide)
84. “Ich weiss ein Blumlein hubsch und fein”; melody “Ich hab mein Sach Gott (NLGB 339, Death & Dying, Zahn 1679), BWV 1113 (NC);
85. “Nun freut euch, lieben Christen, g’mein”; BWV 388(PC); 734(MC), 755*(MC); and melody BWV 307(PC) also uses title “Es is gewißlich an der Zeit”)
86. “Nun lob’, mein’ Seel’, den Herren” (Psalm 103); BWV 17/7 (CC), BWV 29/8(CC), BWV 389-90(PC), Anh. 60 (Walther); also used in motet BWV 225 and BWV Anh. 160=BWV231), “Jauchzet den Herrn.”
There was a divergence in the church-year order and contents between the NLGB of 1682 and contemporary, increasingly pietist hymnbooks in Bach’s time. The NLGB was an orthodox, theological hymnbook showing the influence of both the Leipzig clergy and University teaching, where some taught as professors, including Superintendent Salomon Deyling, Bach confessor Romans Teller, and family pastor Johann Gottlob Carpzov (Leaver 2017, Ibid.: 174f, 177f), and possibly confessing Pastor Christian Weisse Sr. About 1730, having completed his three complete cycles of church cantatas, Bach turned to chorales with an increasingly pietist or liturgical emphasis. This culminated in the Schemelli song book of 1736, the omnibus collection replete with devotional settings as well as complete texts of established chorales, and the Clavierübung III omne tempore Mass-Catechism settings in 1739. At the same time, Bach in his free-standing plain chorale harmonizations, focused on the omne tempore portion of the hymnbooks with numerous settings, previously thought to be remnants from the puttwo lost cantata cycles.
Chorale Cantatas, Sermons
While celebrating the Bicentenary of the establishment of Lutheran hymnals in 1524, Bach in 1724-25 composed a partial chorale cantata cycle from Advent through the Feast of Annunciation, omitting hymns from Easter Monday to the Pentecost festival, turning instead to Johannine-driven cantatas distributed in 1750 as part of his third cycle. Bach also had precedence for this type of cantata cycle, which his predecessor Johann Schelle had presented in 1690-91. There was a collaboration between Schelle and learned pastor Johann Benedict Carpzov, who had “preached a cycle of hymn-sermons, expounding on one hymn in each of his sermons between Advent I 1688 and the last Sunday after Trinity 1689,” says Marcus Rathey.5 “During this cycle the idea was born that Schelle could set these hymns to music for the following year. Carpzov would then repeat the main ideas from his hymn-sermons from the previous year briefly in the introductions for his sermons, immediately following the settings by Schelle.”
It may be more than coincidence that Bach may have collaborated with his St. Thomas Pastor Weisse to produce a similar cycle of so-called Liederpredigten (chorale-sermons). The cyclic sermon tradition was established by Luther supporter Johann Spangenberg (1484-1550), whose Zwöllff Christliche und Liessen (Wittenberg: Rhau, 1545) was “the first of what was to become a distinctive Lutheran tradition of published collections of Liederpredigten, expository sermons on a number of different hymns,” says Leaver (2008: Ibid.: 214). Weisse, who had lost his voice from 1718 to 1723, “was able to preach again”. . . “regularly, from Easter 1724 onwards,” says Alfred Dürr.6 Unfortunately no such published chorale-sermon cycle has been found nor have any printed church cantata text books for this period.
Afterword: After catechism-based chorales, the next section of the NLGB has the rubric “Christian Life and Conduct,” NLGB Not. 234 to 274, beginning with generic chorales and followed by psalm paraphrase settings of 27 various types of Psalms: Nos. 1, 2, 6, 8, 12-14, 23, 31, 41, 46, 51, 67, 90, 91, 103, 117, 121, 124, 127, 128, 130, 138, 142, 143, 147, and 150. Then, there is the NLGB related rubric of “Cross, Persecution, and Tribulation,” setting Nos. 275-304, and “Word of God and Christian Church, NLGB Nos. 305-323. Meanwhile, Bach’s Orgelbüchlein (Ob.) incipit church year template has the general rubric of “Christian Life and Conduct,” Ob. Listings Nos. 87-126, including seven Psalm Hymns (Ob. Nos. 114-119 on Psalms 12, 14, 46, 67, and 124), followed by the heading “Word of God & Christian Church,” Ob. Nos. 120-126. In addition to settings found in the NLGB and listed in the Orgelbüchlein are many other Bach plain chorale settings from hymnbooks published after 1730, as well as the some 84, melody-continuo settings of Bach found in the Schemelli songbook, most published as BWV 439-505 with 19 melodies attributed to Bach.7
FOOTNOTES
1 Robin A. Leaver, Part IV, Chapter 15, “Sequences and Responses,” Luther’s Liturgical Music: Principles and Implications (Grand Rapids MI: Eerdmanns Publishing, 2007, 151f).
2 Ulrich S. Leupold, Luther’s Works, Vol. 53, Liturgy and Hymns, trans. George MacDonald (Philadelphia PA: Fortress Press, 1967: 182f).
3 Günther Stiller, Johann Sebastian Bach and Liturgical Life in Leipzig, ed. Robin A. Leaver (St. Louis MO: Concordia Publishing, 1985: 44).
4 Cited in Robin A. Leaver, Part VI, Chronology, Chapter 20, “Life and Works 1685-1750,” in The Routledge Research Companion to Johann Sebastian Bach, ed. Leaver (London UK, New York: Routledge, 2017: 491).
5 Marcus Rathey, “Preaching and the Power of Music: A Dialogue between the Pulpit and Choir Loft in 1689,” Yale Journal of Music & Religion, 1/2, Music and Preaching, guest ed. Rathey (New Haven CN: Yale University Press, 2015: 36).
6 Alfred Dürr, The Cantatas of J. S. Bach, rev. & trans. Rochard D. P. Jones (Oxford University Press, 2005: 29).
7 The so-called called “free-standing,” “unattached,” or “orphan chorales,” catalogued in 1950 as BWV 253-438, usually were considered remnants of lost cantatas in the fourth and fifth cycles but now may be independent liturgical settings. They “were popular during the years 1730-1750 and were admitted into the Leipzig-Hymn-book in that period,” and “were written for the Leipzig churches,” observes Charles S. Terry in his “Preface (ix), The Four-Part Chorals of J. S. Bach, Edited with an historical Introduction, Notes, and critical Appendices (London: Oxford University Press, 1929, reprint 1964), the only collection of Bach chorales not found on-line (http://oll.libertyfund.org/people/charles-sanford-terry).
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