Epiphany Time Cantatas

2nd Sunday after Epiphany: John's Gospel, Bach's Cantatas

William L. Hoffman wrote (January 18, 2018):
The non-synoptic, unique Gospel of John in Bach's day and today has appointed readings for the feasts of the 2nd day of Christmas (December 26), the 2nd Sunday after Epiphany, two Sundays in Lent, and the Sundays in the Easter/Pentecost Season from the 2nd Sunday after Easter to Trinity Sunday (now called the Sunday after Pentecost). For the current 2nd Sunday after Epiphany, in Bach's day the single Johannine Gospel reading was the Wedding Feast at Cana (John 2:1-11), in which Jesus performed his first miracle, a symbol of his divinity. Today's three-fold readings begin with the first chapter of John's Gospel: Year A (Matthew), John 1:29-42, Baptism of Jesus and selection of Peter and Andrew as Disciples; Year B current (Mark), John 1:43-51, selection of Philip and Nathan (Can there any good thing come out of Nazareth?); and Year C (Luke), John 2:1-11. Bach's Epiphany Time Cantatas address the humanity of Jesus revealed in the beginnings of his ministry that would lead to the pre-Lenten “gesima” Sundays and his sacrificial death on the cross.

For the 2nd Sunday after Epiphany, Bach composed three distinct, unified cantatas. An overview of all three -- the negative titles, music moving from mourning to consolation, and a sense of transformation based on the day’s Gospel, Wedding Feast at Cana (John 2:1-11) -- is provided in John Eliot Gardiner’s 2006 liner notes introduction to the 2000 Bach Cantata Pilgrimage Soli Deo Gloria recordings.¹ “At first glance one might have thought it a little odd that, for a Sunday in which the Collect is ‘Unto us a child is born. Hallelujah!’, Bach left us three cantatas with the titles ‘My God, how long, ah! how long?’ (BWV 155), ‘Ah God, what deep affliction’ (BWV 3) and ‘My sighs, my tears’ (BWV 13). Was this just a case of the Lutheran clergy making a fetish of the hair-shirt approach to life’s woes? The texts of the cantatas inscribe a path from mourning to consolation – one illuminated by Bach’s music – and, by varying degrees of emphasis on the Gospel for the day (the miracle of the turning of water into wine), they employ this as a symbol of the transformation of earthly troubles into heavenly bliss. They also point to the ‘proper’ time (‘Mine hour is not yet come’, Jesus said to his mother) at which the believers’ long vigil of tribulation and doubt will finally end.”

The Wedding Feast at Cana in John (2:1-11, http://www.bach-cantatas.com/Read/Epiphany2.htm) is the only Gospel account of this event beginning Jesus' ministry. John "presents it as the first manifestation of Jesus' glory," says Eric Chafe in his recent study of John's Gospel influence in Bach's works.³ This event was a model of the four senses of scripture cited in the Middle Ages: the six water jars (John 2:6), containing the symbolic substance of Jesus' baptism, represent the literal sense of scripture, while the wine represents the spiritual sense of the synoptics' Last Supper new covenant in his blood granting eternal life. The transformation of water into wine represents the allegorical change from sorrow to joy — the Johannine theme Jesus sounds in his farewell discourse to his disciples that their sorrow at his departure from the earth will change to joy when he returns at the end of time in judgement: "but your sorrow shall be turned into joy" (John 16:20b), finally in the eschatological sense. Subsequently, in Lutheran theology "the wedding itself [is] prefiguring the union of the soul (the church) and Christ," as the bride and bridegroom in unio mystica (mystical union), with the "good wine" Jesus produced "reserved for the end signifying eternal life," says Chafe.

While the synoptic Gospels of Matthew, Mark, and Luke described the historical events of Jesus' life on earth, the final Gospel of John is a symbolic and spiritual account of his ministry. As such, "John had a special resonance within Lutheranism," observes Chafe (Ibid.: 11), "not only was it Luther's favorite Gospel, but also the part of the Gospel known as the Farewell Discourse (Jn. 13-17, directly before the Passion), was his favorite part," which was spoken at the Last Supper. Luke was considered the historian among the Gospels, and the primary source of the four-fold concept of salvation history: historical, allegorical, topological, and anagogical (eschatological). John was "most concerned with Jesus' divine nature, his signs and discourses," says Chafe (Ibid.: 71). These entail Jesus' "presence with the Father as divine word (John 1:1-5), before Creation," also known as the "Cosmic Christ,"⁴ "and his voluntary undertaking God's mission" of the "divine plan for salvation," says Chafe.

John's account of the Passion and Death of Jesus (Chapters 18 and 19) was the narrative of Bach's first St. John Passion Oratorio, composed in 1724 and presented in three distinct versions by 1732. John's account of Jesus' Resurrection (Chapter 20: 1-19) was described in Bach's Easter Oratorio, composed at the beginning of Lent 1725 when Bach unexpectedly ceased composing chorale cantatas and presented an expanded version of the St. John Passion, followed by a new series of Easter/Pentecost Season cantatas to new poetic texts commissioned from Leipzig poetess Mariane von Ziegler, with a strong Johannine emphasis.

Beyond Bach's three cantatas for the Johannine 2nd Sunday after Epiphany (BWV 3, 13, and 155), emphasizing sorrow turned to joy, are related cantatas Bach composed and presented in Leipzig as part of three cycles of musical sermons for the church year. For the current church year year B with its emphasis on the Gospel of Mark, a most appropriate work is the 1725 Reformation chorus Cantata BWV 79, "Gott der Herr ist Sonn und Schild" (God the Lord is sun and shield, Psalm 84:11, http://www.bach-cantatas.com/BWV79-D5.htm). The cantata gives thanks for past and present blessings and confirms that "Jesus is the fulfillment of the law and prophets," says John S. Setterlund.⁵ An alternate, he says, is hybrid Cantata 145, "Auf, mein Herz, des Herren Tag" (Up, my heart, the Lord's day), for the Easter Festival about 1729 (http://www.bach-cantatas.com/BWV145-D4.htm), in which Jesus urges the people to have faith and thus eternal life.

For the A Year emphasizing the Gospel of Matthew, the relevant Bach work for the 2nd Sunday after Epiphany, Gospel John 1:29-42 (Jesus" Baptism and Calling Disciples) is chorale Cantata BWV 9, "Es ist das Heil uns kommen her" (Salvation has come to us), composed for the 6th Sunday after Trinity, 1732-35 (http://www.bach-cantatas.com/BWV9-D4.htm), based on Paul Speratus' 1523 Justification hymn. Cantata 9 "describes the wondrous salvation that has arrived on earth in Christ, and is impressed on the baptized," says Setterlund. The alternate is 1723 chorus Cantata BWV 23, "Du wahrer Gott und Davids Sohn" (You true God and son of David), for Quinquagesima Estomihi Sunday (http://bach-cantatas.com/BWV23-D4.htm), with its plea of mercy. In the C Year emphasizing the Gospel of Luke, for the 2nd Sunday after Epiphany, with the Gospel of John (2:1-11), the wedding at Cana, which also was the reading in Bach's time, is Cantata 155, "Mein Gott, wie lang, ach lange?" (My God, how long, ah how long?, http://www.bach-cantatas.com/BWV155-D4.htm), composed for this Sunday in 1716 in Weimar and repeated in Leipzig in 1724, and closing with the Speratus chorale. Cantata 155 emphasizes turning to God in time of tribulation and Mary's lack of patience at Cana, with Jesus finally bringing the wine of joy and comfort, as tears are turned to wine. The most appropriate alternative is 1726 chorus Cantata BWV 13, "Meine Seufzer, meine Tränen" (My sighs, my tears), also composed for this Sunday. All Bach cantatas for the 2nd Sunday after Epiphany "dwell extensively on tears and tribulation, God’s hiddenness, and above all, the necessity of waiting and hoping patiently for God’s revelation – his hour – whether of aid to the believer in the present or in the glory of the afterlife.," says Chafe in an earlier study.⁶

FOOTNOTES

¹ Gardiner notes, http://www.bach-cantatas.com/Pic-Rec-BIG/Gardiner-P19c[sdg115_gb].pdf; BCW Recording details, http://www.bach-cantatas.com/Performers/Gardiner-Rec3.htm#P19.
² The cantatas are BWV 155 Mein Gott, wie lang’, ach lange? (Weimar, 1716; http://www.bach-cantatas.com/BWV155-D4.htm), BWV 3 Ach Gott, wie manches Herzeleid (Leipzig, 1725; http://www.bach-cantatas.com/BWV3-D5.htm), BWV 13 Meine Seufzer, meine Tränen (Leipzig, 1726; http://www.bach-cantatas.com/BWV13-D5.htm).
³ Eric Chafe, Chapter 3, "Johannine Themes: John in the Church year" in J. S. Bach's Johannine Theology: the St. John Passion and the Cantatas for Spring 1725 (Oxford & New York: Oxford Univ. Press, 2014: 102).
⁴ See Richard Rohr, "The Cosmic Christ" (Center for Action and Contemplation, 2015, https://cac.org/the-cosmic-christ-2015-11-05/).
⁵ John S. Setterlund, Bach Through the Year: The Church Music of Johann Sebastian Bach and the Revised Common Lectionary (Minneapolis MN: Lutheran University Press, 2013: 23).
⁶ Eric Chafe, Tears into Wine: J. S. Bach’s Cantata 21 in its Musical and Theological Contexts (New York: Oxford University Press, 2015: 85).

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To Come: Bach's settings of Epiphany Time Jesus Hymns

3rd Sunday after Epiphany: Bach, Gospel Alternatives

William L. Hoffman wrote (January 23, 2018):
In the midst of the Christological great parabola of descent and ascent is the church year Epiphany Time of the beginnings of Jesus' ministry on earth. Central to this brief period of three to six weeks of illumination is the 3rd Sunday after Epiphany with its Gospel in Bach's time, Jesus' first public healing (miracle) of the leper (Matthew 8:1-13) and a centurion’s servant response following Jesus' Sermon on the Mount. Bach's response was to compose four musical sermons: three affirmative Cantatas BWV 73, “Herr, wie du willt, so schick's mit mir” (Lord, as you will, deal with me, http://www.bach-cantatas.com/Read/Epiphany3.htm); BWV 111, “Was mein Gott will, das g'scheh allzeit” (What my God wants, may it always happen), BWV 72, “Alles nur nach Gottes Willen” (Everything according to God's will, 1 John 2:16a, 17b); and the 1729 personal BWV 156, “Ich steh mit einem Fuß im Grabe” (I stand with one foot in the grave, https://www.youtube.com/watch?v=_fCDV4Mw8W8) — all with appropriate chorales (http://www.bach-cantatas.com/BWV72-D4.htm). Bach used the Markgraf Albrecht von Brandenburg 1547 hymn, “Was mein Gott will,” throughout chorale Cantata 111 and the next year set the hymn as a plain chorale to close Cantata 72. The initial Cantata 73 begins with Kaspar Bienemann’s 1582 chorale, “Herr, wie du willt"(Lord, as you will), and closes with the Ludwig Helmbold 1563 chorale, “Das ist des Vater’s Wille” (This is the Father’s Will). Solo Cantata 156 closes with the Bienemann chorale and begins vocally with a chorale trope, Johann Heermann Schein's 1628 “Machs mit mir, Gott, nach deiner Güt” (Deal with me, God, according to your kindness). The titles with their texts speak volumes of the importance of this Sunday, as elated to the scriptures and teachings as well as the hymn thematic texts and the poetry of various librettists — and Bach's response through masterful musical settings.

The story of the cleansing of the leper is found in today's expanded three-year lectionary only in the corresponding passage of Mark, 1:40-5, for the rare 6th Sunday after Epiphany (February 11-17). This week's 3rd Sunday after Epiphany in the current readings returns to the synoptic Gospel schedule with this year's B reading of Mark 1:14-20 (https://www.biblegateway.com/passage/?search=Mark+1%3A14-20&version=KJV), Jesus' selection of the first disciples following his Baptism and temptation in the wilderness. A most appropriate cantata is BWV 168, "Tue Rechnung! Donnerwort" (Give an account of yourself! Word of thunder, Luke 16:2), belatedly composed for the 9th Sunday after Trinity in 1725 (http://www.bach-cantatas.com/BWV168-D4.htm). As is so typical in Bach’s musical sermons, it moves from a stern demand for accountability (day's Gospel Luke 16:1-9, parable of the unjust steward), to a reminder of Jesus’ sacrifice on the cross . . . to an affirmative congregational prayer, “Stärk mich mit deinem Freudengeist” (Strengthen me with your joyful spirit), Stanza 4 of Bartholomäus Ringwaldt’s 1588 Catechism penitential chorale, "Herr Jesu Christ, du höchstes Gut" (Lord Jesus Christ, Thou highest Good). "The cantata underscores the ultimate importance of living and commitment to the mission of Jesus," says John S. Setterlund.1

An alternative is chorale Cantata 94, "Was frag ich nach der Welt" (What do I ask for from the world) for the same Sunday in 1524. Balthasar Kindermann’s 1644 Evening Song eschatological song in the category “Last Days, Resurrection of the Dead, Eternal Life” the only one of Bach’s hymn uses in a chorale cantata classified as such (http://www.bach-cantatas.com/BWV94-D4.htm). The spontaneous, total commitment of the three fisherman — Peter, Andrew, James, and John — is symptomatic of the Lutheran concept of the Calling (Beruff). It was particularly relevant and crucial to the 20th Century theologian Dietrich Bonhoeffer's Cost of Discipleship, of the individual's choice between "costly grace" or "cheap grace." Drawn from the "Sermon on the Mount," his 1937 study is a "compelling statement of the demands of sacrifice and ethical consistency from a man whose life (1907-1945) and thought were exemplary articulations of a new type of leadership inspired by the Gospel, and imbued with the spirit of Christian humanism and a creative sense of civic duty," says publisher Touchstone on amazon.com.

The Year A Gospel for the 3rd Sunday after Epiphany is Matthew 4:12-23, Jesus preaches and selects his first disciples, Peter and Andrew (https://www.biblegateway.com/passage/?search=Matthew+4%3A12-23&version=KJV), with an appropriate vocal piece being the undated Motet, BWV 230, "Lobet den Herrn, alle Heiden" (Praise the Lord, nations), says Sutterlund (Ibid.), the shortest of all the Psalms, No. 117:1-2 (https://www.biblegateway.com/passage/?search=Psalm+117&version=KJV; music, https://www.youtube.com/watch?v=D5pVrVXG9CY). Jesus ministry begins with the proclamation of the Gospel as his good news begins to spread throughout the world. An alternative work appropriate to this reading is chorale Cantata BWV 41, "Jesu, nun sei gepreiset" (Jesus, now be praised) for New Year's Day 1724, says Sutterlund (music, https://www.youtube.com/watch?v=en0MtTpCuRs).

The Year C Gospel for the 3rd Sunday after Epiphany is Luke 4:14-21, his detailed account of Jesus' first preaching in the synagogue at Nazareth ( https://www.biblegateway.com/passage/?search=Luke+4%3A14-21&version=KJV). Jesus reads from Isaiah (61:1), "The Spirit of the Lord is upon me, because he hath anointed me to preach the gospel to the poor;" (Luke 4:18a kjv). Appropriate music is Cantata 143, "Lobe den Herrn, meine Seele" (Praise the Lord, my soul, Psalm 146:1, also for New Year's, possibly dated to 1708-14 (https://www.youtube.com/watch?v=iec9sGR1LnM), says Suttertlund. An alternative, he suggests, is chorus Cantata 136, "Erforsche mich, Gott, und erfahre mein Herz" (Search me, God, and know my heart; Psalm 139:23), for the 8th Sunday after Trinity 1723, with the peoples' hidden intentions (music, https://www.youtube.com/watch?v=m9Rlihu4vgE).

FOOTNOTE

1 John S. Setterlund, Bach Through the Year: The Church Music of Johann Sebastian Bach and the Revised Common Lectionary (Minneapolis MN: Lutheran University Press, 2013: 25).

Epiphany Time Chorales, Jesus Hymns

William L. Hoffman wrote (January 26, 2018):
Following the completion of his Christological Cycle of feast day oratorios of the incarnate Jesus Christ on earth, Bach in the mid 1730s turned to the personal, devotional sacred songs often found in 18th century pietist hymnbooks particularly the Freylinghausen Gesang-Buch of 1704. The most significant genre were the Jesus Hymns of informal, personal prayer found in the Schmelli Gesangbuch (Leipzig 1736) in which Bach selected some 67 sacred songs, secured the texts and melodies with figured bass which were published as BWV 439-507. These personal "I" songs focused on the other two coming of Jesus, in the perpetual spirit of the believer in an indwelling (inhabitatio) in the heart of the believer and the final coming of Christ in the eschatological "End Times," in judgement and the eternity of God's Time.

Bach's eschatological chorales are found three publications: the Gottfried Vopelius 1682 Das neu Leipziger Gesangbuch (NLGB) under the rubric, “Death & Dying” (nos. 324-389), which is followed by “Last Days, Resurrection of the Dead, & Eternal Life” (nos. 390 to 396); in the 1736 Schemelli Gesangbuch as "Von Jüngsten Gericht und ewigen Leben" (Eternal Judgement & Eternal Life, nos. 743-762), and are listed in the Weimar Orgelbüchlein (Ob.), "The life eternal/appendix" (Justification), nos. 157-164 (Eschatological Chorales, Coming in Judgement, http://www.bach-cantatas.com/Order-2017.htm). Many of these personal hymns had special significance for Bach. He set two of the dozen as early, extended organ chorale variations and sacred songs: Christian Keymann's "Sei gegrüßet, Jesu, gütig" (Hail to you, kind Jesus) and Adam Flittner's "Ach, was soll ich Sünder machen" (Ah, what shall I do in sin?). Other notable sacred song writers were Adam Drese, Wolfgang Christoph Dreßler, and Gottfried Wilhelm Sacher.¹

"Sei gegrüßet, Jesu, gütig"

"Sei gegrüßet, Jesu, gütig" (Hail to you, kind Jesus) is the Jesus Song of Christian Keymann of seven 6-line stanzas set to the associated melody (Zahn 3889) first found in the NLGB) as No. 432, the last listing (Fischer-Tümpel: IV: 14).² The hymn was first published in Martin Janus’ Passionale Melicum (Görlitz, 1663)," says Charles S. Terry.³ "In the Wolfenbüttel Hymn-book of 1672 its stanzas are printed alternately with those of the Passiontide prayer, 'Salve Jesu, summe bonum,' attributed to St Bernard of Clairvaulx. There does not appear to be reasonable ground for holding Keimann’s hymn a version of the Latin. Two stanzas, improbably by Keimann, were added to his original five in the Gotha Geistlichen Gesang-Buchlein of 1666."

The last two lines are a refrain, the same in Stanzas 1-5, "Lass mich deine Liebe erben / und darinnen selig sterben" (Let me inherit your love / And blissfully die in it). Johann Böttiger's alternate text setting, "O Jesu du, edle Gabe” (O Jesu, thou noble gift), is a Jesus Song for Communion with a different refrain: "Dein Blut mich von Sünden Wäschet / und der Höllen Glut auslöschet" (Your blood washes me from sin / and extinguishes the first of hell").⁴ The two text incipits, "Sei gegrüßet, Jesu, gütig" and "O Jesu du, edle Gabe” sometimes are used interchangeably since they are listed in the Orgelbüchlein (but not set) as Ob. 82, "O Jesu du, edle Gabe” (Lord's Supper, http://www.orgelbuechlein.co.uk/wp-content/uploads/2011/12/NOB-82-chorale.pdf) and Ob. 163, both titles (Appendix; Life Eternal [Justification Catechism], http://www.orgelbuechlein.co.uk/wp-content/uploads/2011/12/NOB-163-chorale.pdf).

Bach set the hymn as the Partita and Chorale Variations, BWV 668 (https://www.youtube.com/watch?v=gierj0nKCF8, composed as early as 1705, as well as a plain chorale, BWV 410 (http://www.bach-chorales.com/BWV0410.htm), a four-part realization of the two-part Schmelli Gesangbuch sacred song, BWV 499 (No. 293, Jesus' Suffering & Death), http://www.bach-chorales.com/SchemelliRealizations.htm (music, https://www.youtube.com/watch?v=uen-oi_TXZ4). The Jesus Hymn was set as organ works of Johann Pachelbel (1653-1706), chorale prelude, PWC 423, and Johann Gottfried Walther (1684-1748) as a Chaccone.

Three Adam Drese Hymns

"Seelenbräutigam, Jesu, Gotteslamm!" (Soul's bridegroom, Jesus, God's Lamb) is an Adam Drese Jesus Hymn of 15 six-line stanzas set to the associated melody (Zahn 3255), first published in Geistreiches Gesang-Buch (Halle 1697), then in the Darmstadt Geist-reiches Gesang-Buch, 1698 and the Freylinghausen Gesang-Buch, 1704.⁵ In Wagner's Gesang-Buch (Leipzig 1697, iii: 420), it begins, "Jesu, Gottes Lamm." It makes numerous references to Jesus in pietist terms of "Lamb" and "Bridegroom" as well as the traditional "Hero From David's tribe" and "Prince of Peace" In English its title is "Jesus, still lead on" (https://hymnary.org/text/jesus_still_lead_on). Bach set the hymn as a plain chorale, BWV 409 http://www.bach-chorales.com/BWV0409.htm, and as a two-part sacred song setting in Schmelli Songbook (No. 472, Loving & Friendly God), BWV 496 (http://www.bach-chorales.com/SchemelliRealizations.htm, https://i.ytimg.com/vi/hjhHQ0I8zNs/maxresdefault.jpg (music https://www.youtube.com/watch?v=EoZ48u9pmsw). The Schmelli also has a Christmas Song that refers to the Seelen Bräutigam: "O Fürstenkind aus Jakobs Stamm, o meiner Seelen Bräutigam" (O child of princes from the tribe of Jacob, bridegroom of my soul), points out Markus Rathey.⁶

"Nur mein Jesu ist mein Leben" (Only my Jesus is my life) is an Adam Drese 1695 six 12-irregular line stanza hymn in double bar form with the associated anonymous melody (Zahn 8404), published in the Freylinghausen Geistreiches Gesang-Buch (Halle 1708).⁷ Various biblical and personal allusions are found in this unusual form of double-bar Abgesang and Stollen (two four-line stanzas) that shifts to four short lines in 3/4 dance style in the final Stollen. Bach set it in the Schmelli as No 700 (Loving & Longing for Jesus), BWV 490 (http://www.bach-cantatas.com/Texts/Chorale490-Eng3.htm, Stanzas 1 & 5), https://translate.google.com/translate?hl=en&sl=de&u=http://www.bach-cantatas.com/Texts/Chorale490-Eng3.htm&prev=search).

"Seelenweide, meine Freu" (Soul's delight, my joy) is an Adam Drese 1695 12 five-irregular, concise- stanza hymn to the associated melody (Zahn 1286), also published in the same Freylinghausen Geistreiches Gesang-Buch (Halle 1708).⁷ It includes various contemporary allusions. Bach set the hymn in the Schmelli as No. 710, Love & Longing for Jesus), BWV (https://www.youtube.com/watch?v=BnAH0tze2Mk, Stanzas 1, 2, 5, 6, 10; https://translate.google.com/translate?hl=en&sl=de&u=http://www.bach-cantatas.com/Texts/Chorale497-Eng3.htm&prev=search).

Flittner's Jesu, meines Herzens Freud

Bach “begins Life Eternal (Ob. No. 157) with Johann Flittner’s ‘Jesus-Lied’ "Jesu, meines Herzens Freud" (Jesus, my heart's joy) ⁸ whose closing lines, undoubtedly, were particularly before him: ‘When Death calls me, O sustain me, / Thou Consoler, / Jesu, Comforter’," says Terry (Ibid.: 62 ). “Jesu, meines Herzens Freud” is a hymn of Last Judgement and Eternal Life, text by Flittner (1618-1678), having five 7-line irregular stanzas with refrains and is a translation of Salve cordis gaudium (Hail the Joy) to the associated melody in a minor mode (Zahn 4797, 4798d) of sacred songwriter Johann Rudolph Ahle, published in 1661 in Flittner’s “Amor meus Jesus: Salve cordis gaudium (Fischer-Tümpel iv: 542); Ahle melody published in Anderes Zehn Neuer Geistlich Arien (Mühlhausen 1662). “Jesu, meines Herzens Freud” is not found in the NLGB but is listed in the Orgelbüchlein, No. 157 (from Gotha-Witt Hymnbook No. 336), and in the Schemelli Songbook as No. 696, under the rubric, “Von der Liebe und Verlangen nach Jesu” (Love and longing for Jesus). In this hymn Jesus is described as the Redeemer, Rest of Souls, and Comforter.

Bach set “Jesu, meines Herzens Freud” as a plain chorale setting, BWV 361 (http://www.bach-chorales.com/BWV0361.htm; and in the Schemelli Songbook, BWV 473 under the rubric “Von der Liebe und Verlangen nach Jesu” (Love & Longing for Jesus, http://www.bach-cantatas.com/Pic-CM-BIG/BWV473CMa.jpg). Four chorale verse settings of “Jesu, meines Herzens Freud” are found in the apocryphal St. Luke Passion, BWV 246, Nos. No. 9 and 11 to the Ahle melody, as well as Nos. 62 and 66 — using melody "Jesu, Leiden, Pein und Tod” — set to stanzas 3, 4, 5, and 2 respectively. Telemann composed a solo cantata, “Jesu, meines Herzens Freud,” TWV 1:1120 in 1732. “Jesu, meines Herzens Freud” is known in English as “King of Glory, King of Peace” (https://songselect.ccli.com/Songs/878956/king-of-glory-king-of-peace-salve-cordis-gaudium).

"Ach, was soll ich Sünder machen" (Ah, what shall I do in sin?) is Flittner's best-known song, with seven six-line stanzas to the associated melody which is based on a secular melody by Enoch Gläsner (Zahn 3573b) of 1653.⁹ Appropriate for Lent, it was published in Leipzig Vorrath (1673), which its author inscribed Omnia si perdam, Jesum servare studebo (Though I lose all, yet will I cling to Jesus).³ It is found in the NLGB as no 389, at the end of the section, “Death & Dying,” followed by “Last Days, Resurrection of the Dead, Eternal Life” (nos. 390-402). In the Orgelbüchlein it is No. 157 (not set), from the Gotha-Witt Hymnbook (No. 336) as both a plain chorale, BWV 259 (http://www.bach-chorales.com/BWV0259.htm), and an organ chorale partita, BWV 770 (https://www.youtube.com/watch?v=YyRnVBjWoK8). Its seven stanzas end with the refrain, "Meinen Jesum lass ich nicht" (I shall not leave my Jesus). It “is an extremely early work, possibly even dating from the Arnstadt period,” says Peter Williams. In English, it is known as “What shall I a sinner do,” of Catherine Winkworth (https://hymnary.org/text/what_shall_i_a_sinner_do).

Two Dreßler Pietist Hymns

Wolfgang Christoph Dreßler's hymn, "Ich lass dich nicht, du mußt mein Jesus bleiben" (I will not let Thee go, Thou Help in time of need), is a nine 10-line (irregular) stanza hymn, first published in Gottgeheiligte, christnützliche, ergötzende Seelenlust (Nürnberg 1692).¹⁰ Based on Genesis 32:1, "And Jacob went on his way, and the angels of God met him," each stanza concludes with the refrain, "Ich lass dich nicht" (I will not let you go), following references to Jesus as "supreme love,""my strength," "helper in need," and "blessing light." A scholar and teacher, Dreßler wrote poetry in the spirit of pietist Philipp Jakob Spener and the Nürnberg school. The melody (Zahn 7455, ELG 436) was printed in Andächtige Hertzens-Music (Leipzig 1727), following the death of the pious Saxon electress Christiane Eberhardine, who requested that it be sung on her deathbed, 5 September 1726 (https://hymnary.org/person/Dessler_Wolfgang). Bach used the hymn in the Schmelli Gesangbuch (No. 734, Trusting Jesus Song), BWV 467 (http://www.bach-cantatas.com/CM/BWV467.htm, https://www.youtube.com/watch?v=B28WK6VKwA4, Stanzas 1, 9). Bach presented his Funeral Ode, Cantata BWV 198, "Laß, Fürstin, lass noch einen Strahl" (Let, Princess, let one more ray) at her memorial service in the Leipzig University Church, 17 October 1727.

Dreßler's "Mein Jesu, dem die Seraphinen" (My Jesus, whom the seraphin), is an eight-8-line stanza Bar Form 1692 hymn set to the associated melody (Tooth 5988) of Johann Anastasius Freylinghausen Geistreiches Gesang-Buch (Halle 1704).¹¹ Based on Jeremiah 10:7, "Who would not fear thee, O King of nations?" (kjv), is a hymn of Justification & Penance. Bach set the hymn in the Schmelli (No. 121, Justification), BWV 486 (https://www.youtube.com/watch?v=fHeIKICdXvQ, https://www.youtube.com/watch?v=W25Qm5AcwNU, S.1 & 3,"Justification & Penitence," No. 27 https://www.youtube.com/watch?v=C3E5uDXq3tI&t=154s). Another two-part setting of "Mein Jesu, dem die Seraphinen" is found in the Sebastian Bach's Choral-Book (p. 204), Zahn melody 5991, as Christian Life & Conduct. The English version is Catherine Winkworth's "My Jesus, if the Seraphim."

Other Jesus Hymns

"Jesu meines Glaubens Zier" (Jesus, jewel of my faith) is the Gottfried Wilhelm Sacher five 8-line stanza Passion Song written in 1681, "boodless, victorious, triumphant Jesus," set to the anonymous melody (Zahn 6453) and published in the Johann Anastasius Freylinghausen Geistreiches Gesang-Buch (Halle 1708).¹² The well-traveled, distinguished writer Bach set it as a Schmelli song (No. 119, Justification), BWV 472 (http://www.bach-cantatas.com/Texts/Chorale472-Eng3.htm, Stanzas 1, 2, & 5) Bach also set the final 7th verse, "Wenn soll es doch geschehen" When will it happen) of the Sacher 1697 Ascension hymn, "Gott fähret auf gen Himmel" (God ascends into heaven) a plea for Christ's Second Coming, which closes the Ascension Oratorio of 1735, set to the Bar Form melody, "Von Gott will ich nicht laßen (I will not abandon God). "Jesu meines Glaubens Zier" is known in English as "It is finished! Christ hath known," of Gabriel Gillett (https://hymnary.org/text/it_is_finished_christ_hath_known).

"Jesu, Jesu, du bist mein" (Jesus, Jesus, you are mine) is hymn in eight 8-light stanzas from an anonymous poet of 1687, with a melody (Zahn 6446) attributed to Bach and first appearing in Schmelli (No. 471).¹³ The text was first published in the Darmstadt 'Cantional" (1687) and in the Meiningen Gesangbuch of 1697. "Bach's melody is one of several associated with the hymn, says Charles S. Terry.¹⁴ "Hardenburg's MS. Liederlexicon at Wernigerode names Caspar Zollikofer (1709-79) as the author." Bach set the hymn as a plain chorale, BWV 357 (http://www.bach-chorales.com/BWV0357.htm) and as a two-part setting in Schmelli (No. 741, Trusting Jesus Song), BWV 470 (https://ec-assets.sheetmusicplus.com/items/20161841/cover_images/cover-large_file.png); music, BWV 470/1,2 and 357/4, https://www.youtube.com/watch?v=MUp08GiX-CA; BWV 470/1,4,8 https://www.youtube.com/watch?v=XUbovCYtWLE).

"Ich liebe Jesum alle Stund" (I love Jesus every hour) is the six 6-line stanza Jesus Hymn attributed to Georg Christian Schmelli with an anonymous melody (Zahn 4732), first found in the Schmelli Gesangbuch (No. 737, Trusting Jesus Song).¹⁵ Each stanza concludes with the refrain, "Ich liebe Jesum bis in Tod" (I love Jesus until death). Bach set it in the Schmelli, BWV 468 (http://www.bach-cantatas.com/CM/BWV468.htm, https://www.youtube.com/watch?v=IEZt63MCAJE

"Jesus ist das schönste Licht" (Jesus is the most beautiful light) is the nine-eight-line stanza Bar Form Jesus Hymn of Christian Friedrich Richter, written in 1704 and published in the Johann Anastasius Freylinghausen Geistreiches Gesang-Buch (Halle 1708, https://hymnary.org/tune/jesu_ist_das_schonste_licht_freylinghaus).¹⁶ It has elements of the unio mystica (mystical union) of believer and Jesus (bridge and briudegroom). Bach set it as a Schmelli song (No. 463, Loving & Friendly God), BWV 474), https://translate.google.com/translate?hl=en&sl=de&u=http://www.bach-cantatas.com/Texts/Chorale474-Eng3.htm&prev=search. Two other Richter 1704 songs are set by Bach in Schmelli: BWV 456 "Es glänzet der Christen inweniges Leben" (The inner-life of Christians shines), Renouncing the World & Being Oneself) and BWV 459, "Es kostet viel, ein Christ zu sein" (It costs much to be a Christian

FOOTNOTES

¹ See: Edition Bachakademie Vol. 84, A Book of Chorale-Settings for Patience & Serenity/Jesus Hymns, http://www.bach-cantatas.com/Vocal/BWV250-438-Rilling.htm, CH-11, contains 19 Jesus Hymns (https://www.youtube.com/watch?v=vvIyL34zUTQ&t=254s, Nos. 10-28, Jesulieder.
² Christian Keymann (1607-1662), http://www.bach-cantatas.com/Lib/Keymann.htm, German text, http://www.bach-cantatas.com/Texts/Chorale499-Eng3.htm; English (on-line) translation, https://translate.google.com/translate?hl=en&sl=de&u=https://www.bach-digital.de/receive/BachDigitalWork_work_00000480&prev=search, "Link to the text"; melody information, http://www.bach-cantatas.com/CM/BWV499.htm;
³ Charles S. Terry, Bach’s Chorals, Part III, "The Hymns and Hymn Melodies of the Organ Works" (Cambridge University Press, 2018: 292ff), http://oll.libertyfund.org/titles/2057.
⁴ "O Jesu du, edle Gabe," Johann Böttiger (1613-1672) short biography and German text, https://books.google.com/books?id=P_ssAAAAYAAJ&pg=PA35&lpg=PA35&dq=J.+Böttiger,+o+jesu+du+edle+gabe&source=bl&ots=si8hHzs50R&sig=NNmanxEZ2gm0jgiB-kJ2XOL-p4k&hl=en&sa=X&ved=0ahUKEwjItOeipvbYAhWFMGMKHYxLDIUQ6AEIVDAK#v=onepage&q=J.%20Böttiger%2C%20o%20jesu%20du%20edle%20gabe&f=false; refrain English translation, Peter Williams, https://books.google.com/books?id=JPE6AAAAIAAJ&pg=PA309&lpg=PA309&dq=sei+gegrusset+jesu+gutig+tekst&source=bl&ots=OKYzrqtXu9&sig=a-BbhAuWLzUOVOfsVP3HZIqqSXk&hl=en&sa=X&ved=0ahUKEwjgtpj0nvbYAhVF1mMKHU2-Aaw4ChDoAQhFMAU#v=onepage&q=sei%20gegrusset%20jesu%20gutig%20tekst&f=false.
⁵ Adam Drese (1620-1701, biography, http://www.bach-cantatas.com/Lib/Drese.htm; German text, http://www.bach-cantatas.com/Texts/Chorale496-Eng3.htm; English (on-line) translation. https://translate.google.com/translate?hl=en&sl=de&u=http://www.bach-cantatas.com/Texts/Chorale496-Eng3.htm&prev=search; melody information, http://www.bach-cantatas.com/CM/BWV496.htm.
⁶ Markus Rathey https://books.google.com/books?id=UHDADAAAQBAJ&pg=PA162&lpg=PA162&dq=seelenbrautigam+images&source=bl&ots=gW-NWVDWjH&sig=I09ZHvJmooatznMqzNe3jccgOHY&hl=en&sa=X&ved=0ahUKEwjpzOfWvvbYAhVLwWMKHYiiD-QQ6AEIYDAT#v=onepage&q=seelenbrautigam%20images&f=false).
⁷ "Nur mein Jesu ist mein Leben"; German Text, http://www.bach-cantatas.com/Texts/Chorale490-Eng3.htm; English (on-line) translation, https://translate.google.com/translate?hl=en&sl=de&u=http://www.bach-cantatas.com/Texts/Chorale490-Eng3.htm&prev=search; melody information, https://translate.google.com/translate?hl=en&sl=de&u=http://www.bach-cantatas.com/Texts/Chorale490-Eng3.htm&prev=search.
⁸ Johann Flitner biography, https://hymnary.org/person/Flitner_J; German text, http://www.bach-cantatas.com/Texts/Chorale473-Eng3.htm; English (on-line) translation https://translate.google.com/translate?hl=en&sl=de&u=http://www.bach-cantatas.com/Texts/Chorale473-Eng3.htm&prev=search; melody information, https://translate.google.com/translate?hl=en&sl=de&u=http://www.bach-cantatas.com/Texts/Chorale473-Eng3.htm&prev=search; Johann Rudolf Ahle (1625-73), biography, http://www.bach-cantatas.com/Lib/Ahle-Johann-Rudolf.htm.
⁹ “Ach, was soll ich Sunder machen” German text, https://hymnary.org/text/ach_was_soll_ich_suender_machen.; English (on-line) translation, https://translate.google.com/translate?hl=en&sl=de&u=https://hymnary.org/text/ach_was_soll_ich_suender_machen&prev=search; BWV 770, Peter Williams commentary, https://books.google.com/books?id=gTXxUk1LAowC&pg=PA525&lpg=PA525&dq=BWV+770+Peter+Williams+Bach+Organ+Music&source=bl&ots=yaYZOG7f7p&sig=B4wcshIV2icPg1gMmtMwCAFqm0U&hl=en&sa=X&ved=0ahUKEwiJ0MmmjpDYAhUIzGMKHYMoAw8Q6AEILzAB#v=onepage&q=BWV%20770%20Peter%20Williams%20Bach%20Organ%20Music&f=false.
¹⁰ Wolfgang Christoph Dreßler (1660-1722) biography, http://www.bach-cantatas.com/Lib/Dressler.htm; German text, http://www.bach-cantatas.com/Texts/Chorale467-Eng3.htm; English (Winkworth) translation, https://hymnary.org/text/my_jesus_if_the_seraphim; melody information, http://www.bach-cantatas.com/CM/BWV467.htm.
¹¹ "Mein Jesu, dem die Seraphinen," German text, http://www.bach-cantatas.com/Texts/Chorale486-Eng3.htm; English (on-line) translation, https://translate.google.com/translate?hl=en&sl=de&u=http://www.bach-cantatas.com/Texts/Chorale486-Eng3.htm&prev=search; melody information, https://translate.google.com/translate?hl=en&sl=de&u=http://www.bach-cantatas.com/Texts/Chorale486-Eng3.htm&prev=search.
¹² Gottfried Wilhelm Sacher (1635-1699, biography http://bach-cantatas.com/Lib/Sacer.htm. German text, http://www.bach-cantatas.com/Texts/Chorale472-Eng3.htm; English (on-line) translation, https://translate.google.com/translate?hl=en&sl=de&u=http://www.bach-cantatas.com/Texts/Chorale472-Eng3.htm&prev=search; melody information, https://translate.google.com/translate?hl=en&sl=de&u=http://www.bach-cantatas.com/Texts/Chorale472-Eng3.htm&prev=search, https://translate.google.com/translate?hl=en&sl=de&u=http://www.bach-cantatas.com/Texts/Chorale472-Eng3.htm&prev=search; details, https://books.google.com/books?id=nZ46AAAAMAAJ&pg=RA5-PA48&lpg=RA5-PA48&dq=jesu+meines+glaubens+zier+text&source=bl&ots=-cKTiiDSVh&sig=qfYO0NKvpZPbeLfuEFfa8DNkQkk&hl=en&sa=X&ved=0ahUKEwjprJOFjvnYAhWKqlQKHRITDpoQ6AEIZjAJ#v=onepage&q=jesu%20meines%20glaubens%20zier%20text&f=false.
¹³ "Jesu, Jesu, du bist mein," German text, http://www.bach-cantatas.com/Texts/Chorale470-Eng3.htm; English (on-line) translation, https://translate.google.com/translate?hl=en&sl=de&u=http://www.bach-cantatas.com/Texts/Chorale470-Eng3.htm&prev=search; melody information, http://www.bach-cantatas.com/CM/BWV470.htm.
¹⁴ Charles S. Terry, J.S. Bach's Original Hymn-tunes for Congregational Use, https://books.google.com/books?id=07g2AQAAMAAJ&pg=PA7&lpg=PA7&dq=jesu+jesu+du+bist+mein+Zahn&source=bl&ots=s09rr4VaI9&sig=TLs_VAqLX_FZGBLQd4fa2FSyBtc&hl=en&sa=X&ved=0ahUKEwiF9If71PbYAhVE4GMKHf4VCV0Q6AEITzAK#v=onepage&q=jesu%20jesu%20du%20bist%20mein%20Zahn&f=false.
¹⁵ Georg Christian Schmelli (c.1678-1762), biography http://www.bach-cantatas.com/Lib/Schemelli-Georg-Christian.htm; German text, http://www.bach-cantatas.com/Texts/Chorale468-Eng3.htm; English (on-line) translation, https://translate.google.com/translate?hl=en&sl=de&u=http://www.bach-cantatas.com/Texts/Chorale468-Eng3.htm&prev=search; melody information, http://www.bach-cantatas.com/CM/BWV468.htm; further information, https://books.google.com/books?id=eNFFAQAAMAAJ&pg=PA97&lpg=PA97&dq=bach+ich+liebe+jesum+alle+stund+Zahn&source=bl&ots=mi5WfpJ2vC&sig=BiuB_VKyzisR_y75oK52FZWlww4&hl=en&sa=X&ved=0ahUKEwiNk-nt_fjYAhVM6WMKHRUbAYIQ6AEIUjAL#v=onepage&q=bach%20ich%20liebe%20jesum%20alle%20stund%20Zahn&f=false.
¹⁶ Christian Friedrich Richter (1676-1711) biography, http://www.bach-cantatas.com/Lib/Richter-Christian-Friedrich.htm; German text, http://www.bach-cantatas.com/Texts/Chorale474-Eng3.htm; English (on-line text), https://translate.google.com/translate?hl=en&sl=de&u=http://www.bach-cantatas.com/Texts/Chorale474-Eng3.htm&prev=search; melody information, http://www.bach-cantatas.com/CM/BWV474.htm.

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To come: 4th Sunday in Epiphany, Chorale Cantata 14, "Wär Gott nicht mit uns diese Zeit" (If God were not with us at this time).

Epiphany Time Chorales, Jesus Hymns Part 2

William L. Hoffman wrote (January 29, 2018):
Following the completion of his Christological Cycle of feast day oratorios of the incarnate Jesus Christ on earth, Bach in the mid 1730s turned to the personal, devotional sacred songs often found in 18th century pietist hymnbooks particularly the Freylinghausen Gesang-Buch of 1704. The most significant genre were the Jesus Hymns of informal, personal prayer found in the Schmelli Gesangbuch (Leipzig 1736) in which Bach selected some 67 sacred songs, secured the texts and melodies with figured bass which were published as BWV 439-507. These personal "I" songs focused on the other two coming of Jesus, in the perpetual spirit of the believer in an indwelling (inhabitatio) in the heart of the believer and the final coming of Christ in the eschatological "End Times," in judgement and the eternity of God's Time.

Bach's eschatological chorales are found three publications: the Gottfried Vopelius 1682 Das neu Leipziger Gesangbuch (NLGB) under the rubric, “Death & Dying” (nos. 324-389), which is followed by “Last Days, Resurrection of the Dead, & Eternal Life” (nos. 390 to 396); in the 1736 Schemelli Gesangbuch as "Von Jüngsten Gericht und ewigen Leben" (Eternal Judgement & Eternal Life, nos. 743-762), and are listed in the Weimar Orgelbüchlein (Ob.), "The life eternal/appendix" (Justification), nos. 157-164 (Eschatological Chorales, Coming in Judgement, http://www.bach-cantatas.com/Order-2017.htm). Many of these personal hymns had special significance for Bach. He set two of the dozen as early, extended organ chorale variations and sacred songs: Christian Keymann's "Sei gegrüßet, Jesu, gütig" (Hail to you, kind Jesus) and Adam Flittner's "Ach, was soll ich Sünder machen" (Ah, what shall I do in sin?). Other notable sacred song writers were Adam Drese, Wolfgang Christoph Dreßler, and Gottfried Wilhelm Sacher.¹

"Sei gegrüßet, Jesu, gütig"

"Sei gegrüßet, Jesu, gütig" (Hail to you, kind Jesus) is the Jesus Song of Christian Keymann of seven 6-line stanzas set to the associated melody (Zahn 3889) first found in the NLGB) as No. 432, the last listing (Fischer-Tümpel: IV: 14).² The hymn was first published in Martin Janus’ Passionale Melicum (Görlitz, 1663)," says Charles S. Terry.³ "In the Wolfenbüttel Hymn-book of 1672 its stanzas are printed alternately with those of the Passiontide prayer, 'Salve Jesu, summe bonum,' attributed to St Bernard of Clairvaulx. There does not appear to be reasonable ground for holding Keimann’s hymn a version of the Latin. Two stanzas, improbably by Keimann, were added to his original five in the Gotha Geistlichen Gesang-Buchlein of 1666."

The last two lines are a refrain, the same in Stanzas 1-5, "Lass mich deine Liebe erben / und darinnen selig sterben" (Let me inherit your love / And blissfully die in it). Johann Böttiger's alternate text setting, "O Jesu du, edle Gabe” (O Jesu, thou noble gift), is a Jesus Song for Communion with a different refrain: "Dein Blut mich von Sünden Wäschet / und der Höllen Glut auslöschet" (Your blood washes me from sin / and extinguishes the first of hell").⁴ The two text incipits, "Sei gegrüßet, Jesu, gütig" and "O Jesu du, edle Gabe” sometimes are used interchangeably since they are listed in the Orgelbüchlein (but not set) as Ob. 82, "O Jesu du, edle Gabe” (Lord's Supper, http://www.orgelbuechlein.co.uk/wp-content/uploads/2011/12/NOB-82-chorale.pdf) and Ob. 163, both titles (Appendix; Life Eternal [Justification Catechism], http://www.orgelbuechlein.co.uk/wp-content/uploads/2011/12/NOB-163-chorale.pdf).

Bach set the hymn as the Partita and Chorale Variations, BWV 668 (https://www.youtube.com/watch?v=gierj0nKCF8, composed as early as 1705, as well as a plain chorale, BWV 410 (http://www.bach-chorales.com/BWV0410.htm), a four-part realization of the two-part Schmelli Gesangbuch sacred song, BWV 499 (No. 293, Jesus' Suffering & Death), http://www.bach-chorales.com/SchemelliRealizations.htm (music, https://www.youtube.com/watch?v=uen-oi_TXZ4). The Jesus Hymn was set as organ works of Johann Pachelbel (1653-1706), chorale prelude, PWC 423, and Johann Gottfried Walther (1684-1748) as a Chaccone.

Three Adam Drese Hymns

"Seelenbräutigam, Jesu, Gotteslamm!" (Soul's bridegroom, Jesus, God's Lamb) is an Adam Drese Jesus Hymn of 15 six-line stanzas set to the associated melody (Zahn 3255), first published in Geistreiches Gesang-Buch (Halle 1697), then in the Darmstadt Geist-reiches Gesang-Buch, 1698 and the Freylinghausen Gesang-Buch, 1704.⁵ In Wagner's Gesang-Buch (Leipzig 1697, iii: 420), it begins, "Jesu, Gottes Lamm." It makes numerous references to Jesus in pietist terms of "Lamb" and "Bridegroom" as well as the traditional "Hero From David's tribe" and "Prince of Peace" In English its title is "Jesus, still lead on" (https://hymnary.org/text/jesus_still_lead_on). Bach set the hymn as a plain chorale, BWV 409 http://www.bach-chorales.com/BWV0409.htm, and as a two-part sacred song setting in Schmelli Songbook (No. 472, Loving & Friendly God), BWV 496 (http://www.bach-chorales.com/SchemelliRealizations.htm, https://i.ytimg.com/vi/hjhHQ0I8zNs/maxresdefault.jpg (music https://www.youtube.com/watch?v=EoZ48u9pmsw). The Schmelli also has a Christmas Song that refers to the Seelen Bräutigam: "O Fürstenkind aus Jakobs Stamm, o meiner Seelen Bräutigam" (O child of princes from the tribe of Jacob, bridegroom of my soul), points out Markus Rathey.⁶

"Nur mein Jesu ist mein Leben" (Only my Jesus is my life) is an Adam Drese 1695 six 12-irregular line stanza hymn in double bar form with the associated anonymous melody (Zahn 8404), published in the Freylinghausen Geistreiches Gesang-Buch (Halle 1708).⁷ Various biblical and personal allusions are found in this unusual form of double-bar Abgesang and Stollen (two four-line stanzas) that shifts to four short lines in 3/4 dance style in the final Stollen. Bach set it in the Schmelli as No 700 (Loving & Longing for Jesus), BWV 490 (http://www.bach-cantatas.com/Texts/Chorale490-Eng3.htm, Stanzas 1 & 5), https://translate.google.com/translate?hl=en&sl=de&u=http://www.bach-cantatas.com/Texts/Chorale490-Eng3.htm&prev=search).

"Seelenweide, meine Freude" (Soul's delight, my joy) is an Adam Drese 1695 12 five-irregular, concise- stanza hymn to the associated melody (Zahn 1286), also published in the same Freylinghausen Geistreiches Gesang-Buch (Halle 1708).⁷ It includes various contemporary allusions. Bach set the hymn in the Schmelli as No. 710, Love & Longing for Jesus), BWV (https://www.youtube.com/watch?v=BnAH0tze2Mk, Stanzas 1, 2, 5, 6, 10; https://translate.google.com/translate?hl=en&sl=de&u=http://www.bach-cantatas.com/Texts/Chorale497-Eng3.htm&prev=search).

Flittner's Jesu, meines Herzens Freud

Bach “begins Life Eternal (Ob. No. 157) with Johann Flittner’s ‘Jesus-Lied’ "Jesu, meines Herzens Freud" (Jesus, my heart's joy) ⁸ whose closing lines, undoubtedly, were particularly before him: ‘When Death calls me, O sustain me, / Thou Consoler, / Jesu, Comforter’," says Terry (Ibid.: 62 ). “Jesu, meines Herzens Freud” is a hymn of Last Judgement and Eternal Life, text by Flittner (1618-1678), having five 7-line irregular stanzas with refrains and is a translation of Salve cordis gaudium (Hail the Joy) to the associated melody in a minor mode (Zahn 4797, 4798d) of sacred songwriter Johann Rudolph Ahle, published in 1661 in Flittner’s “Amor meus Jesus: Salve cordis gaudium (Fischer-Tümpel iv: 542); Ahle melody published in Anderes Zehn Neuer Geistlich Arien (Mühlhausen 1662). “Jesu, meines Herzens Fre” is not found in the NLGB but is listed in the Orgelbüchlein, No. 157 (from Gotha-Witt Hymnbook No. 336), and in the Schemelli Songbook as No. 696, under the rubric, “Von der Liebe und Verlangen nach Jesu” (Love and longing for Jesus). In this hymn Jesus is described as the Redeemer, Rest of Souls, and Comforter.

Bach set “Jesu, meines Herzens Freud” as a plain chorale setting, BWV 361 (http://www.bach-chorales.com/BWV0361.htm; and in the Schemelli Songbook, BWV 473 under the rubric “Von der Liebe und Verlangen nach Jesu” (Love & Longing for Jesus, http://www.bach-cantatas.com/Pic-CM-BIG/BWV473CMa.jpg). Four chorale verse settings of “Jesu, meines Herzens Freud” are found in the apocryphal St. Luke Passion, BWV 246, Nos. No. 9 and 11 to the Ahle melody, as well as Nos. 62 and 66 — using melody "Jesu, Leiden, Pein und Tod” — set to stanzas 3, 4, 5, and 2 respectively. Telemann composed a solo cantata, “Jesu, meines Herzens Freud,” TWV 1:1120 in 1732. “Jesu, meines Herzens Freud” is known in English as “King of Glory, King of Peace” (https://songselect.ccli.com/Songs/878956/king-of-glory-king-of-peace-salve-cordis-gaudium).

"Ach, was soll ich Sünder machen" (Ah, what shall I do in sin?) is Flittner's best-known song, with seven six-line stanzas to the associated melody which is based on a secular melody by Enoch Gläsner (Zahn 3573b) of 1653.⁹ Appropriate for Lent, it was published in Leipzig Vorrath (1673), which its author inscribed Omnia si perdam, Jesum servare studebo (Though I lose all, yet will I cling to Jesus).³ It is found in the NLGB as no 389, at the end of the section, “Death & Dying,” followed by “Last Days, Resurrection of the Dead, Eternal Life” (nos. 390-402). In the Orgelbüchlein it is No. 157 (not set), from the Gotha-Witt Hymnbook (No. 336) as both a plain chorale, BWV 259 (http://www.bach-chorales.com/BWV0259.htm), and an organ chorale partita, BWV 770 (https://www.youtube.com/watch?v=YyRnVBjWoK8). Its seven stanzas end with the refrain, "Meinen Jesum lass ich nicht" (I shall not leave my Jesus). It “is an extremely early work, possibly even dating from the Arnstadt period,” says Peter Williams. In English, it is known as “What shall I a sinner do,” of Catherine Winkworth (https://hymnary.org/text/what_shall_i_a_sinner_do).

Two Dreßler Pietist Hymns

Wolfgang Christoph Dreßler's hymn, "Ich lass dich nicht, du mußt mein Jesus bleiben" (I will not let Thee go, Thou Help in time of need), is a nine 10-line (irregular) stanza hymn, first published in Gottgeheiligte, christnützliche, ergötzende Seelenlust (Nürnberg 1692).¹⁰ Based on Genesis 32:1, "And Jacob went on his way, and the angels of God met him," each stanza concludes with the refrain, "Ich lass dich nicht" (I will not let you go), following references to Jesus as "supreme love,""my strength," "helper in need," and "blessing light." A scholar and teacher, Dreßler wrote poetry in the spirit of pietist Philipp Jakob Spener and the Nürnberg school. The melody (Zahn 7455, ELG 436) was printed in Andächtige Hertzens-Music (Leipzig 1727), following the death of the pious Saxon electress Christiane Eberhardine, who requested that it be sung on her deathbed, 5 September 1726 (https://hymnary.org/person/Dessler_Wolfgang). Bach used the hymn in the Schmelli Gesangbuch (No. 734, Trusting Jesus Song), BWV 467 (http://www.bach-cantatas.com/CM/BWV467.htm, https://www.youtube.com/watch?v=B28WK6VKwA4, Stanzas 1, 9). Bach presented his Funeral Ode, Cantata BWV 198, "Laß, Fürstin, lass noch einen Strahl" (Let, Princess, let one more ray) at her memorial service in the Leipzig University Church, 17 October 1727.

Dreßler's "Mein Jesu, dem die Seraphinen" (My Jesus, whom the seraphin), is an eight-8-line stanza Bar Form 1692 hymn set to the associated melody (Tooth 5988) of Johann Anastasius Freylinghausen Geistreiches Gesang-Buch (Halle 1704).¹¹ Based on Jeremiah 10:7, "Who would not fear thee, O King of nations?" (kjv), is a hymn of Justification & Penance. Bach set the hymn in the Schmelli (No. 121, Justification), BWV 486 (https://www.youtube.com/watch?v=fHeIKICdXvQ, https://www.youtube.com/watch?v=W25Qm5AcwNU, S.1 & 3,"Justification & Penitence," No. 27 https://www.youtube.com/watch?v=C3E5uDXq3tI&t=154s). Another two-part setting of "Mein Jesu, dem die Seraphinen" is found in the Sebastian Bach's Choral-Book (p. 204), Zahn melody 5991, as Christian Life & Conduct. The English version is Catherine Winkworth's "My Jesus, if the Seraphim."

Other Jesus Hymns

"Jesu meines Glaubens Zier" (Jesus, jewel of my faith) is the Gottfried Wilhelm Sacher five 8-line stanza Passion Song written in 1681, "boodless, victorious, triumphant Jesus," set to the anonymous melody (Zahn 6453) and published in the Johann Anastasius Freylinghausen Geistreiches Gesang-Buch (Halle 1708).¹² The well-traveled, distinguished writer Bach set it as a Schmelli song (No. 119, Justification), BWV 472 (http://www.bach-cantatas.com/Texts/Chorale472-Eng3.htm, Stanzas 1, 2, & 5) Bach also set the final 7th verse, "Wenn soll es doch geschehen" When will it happen) of the Sacher 1697 Ascension hymn, "Gott fähret auf gen Himmel" (God ascends into heaven) a plea for Christ's Second Coming, which closes the Ascension Oratorio of 1735, set to the Bar Form melody, "Von Gott will ich nicht laßen (I will not abandon God). "Jesu meines Glaubens Zier" is known in English as "It is finished! Christ hath known," of Gabriel Gillett (https://hymnary.org/text/it_is_finished_christ_hath_known).

"Jesu, Jesu, du bist mein" (Jesus, Jesus, you are mine) is hymn in eight 8-light stanzas from an anonymous poet of 1687, with a melody (Zahn 6446) attributed to Bach and first appearing in Schmelli (No. 471).¹³ The text was first published in the Darmstadt 'Cantional" (1687) and in the Meiningen Gesangbuch of 1697. "Bach's melody is one of several associated with the hymn, says Charles S. Terry.¹⁴ "Hardenburg's MS. Liederlexicon at Wernigerode names Caspar Zollikofer (1709-79) as the author." Bach set the hymn as a plain chorale, BWV 357 (http://www.bach-chorales.com/BWV0357.htm) and as a two-part setting in Schmelli (No. 741, Trusting Jesus Song), BWV 470 (https://ec-assets.sheetmusicplus.com/items/20161841/cover_images/cover-large_file.png); music, BWV 470/1,2 and 357/4, https://www.youtube.com/watch?v=MUp08GiX-CA; BWV 470/1,4,8 https://www.youtube.com/watch?v=XUbovCYtWLE).

"Ich liebe Jesum alle Stund" (I love Jesus every hour) is the six 6-line stanza Jesus Hymn attributed to Georg Christian Schmelli with an anonymous melody (Zahn 4732), first found in the Schmelli Gesangbuch (No. 737, Trusting Jesus Song).¹⁵ Each stanza concludes with the refrain, "Ich liebe Jesum bis in Tod" (I love Jesus until death). Bach set it in the Schmelli, BWV 468 (http://www.bach-cantatas.com/CM/BWV468.htm, https://www.youtube.com/watch?v=IEZt63MCAJE

"Jesus ist das schönsLicht" (Jesus is the most beautiful light) is the nine-eight-line stanza Bar Form Jesus Hymn of Christian Friedrich Richter, written in 1704 and published in the Johann Anastasius Freylinghausen Geistreiches Gesang-Buch (Halle 1708, https://hymnary.org/tune/jesu_ist_das_schonste_licht_freylinghaus).¹⁶ It has elements of the unio mystica (mystical union) of believer and Jesus (bridge and briudegroom). Bach set it as a Schmelli song (No. 463, Loving & Friendly God), BWV 474), https://translate.google.com/translate?hl=en&sl=de&u=http://www.bach-cantatas.com/Texts/Chorale474-Eng3.htm&prev=search. Two other Richter 1704 songs are set by Bach in Schmelli: BWV 456 "Es glänzet der Christen inweniges Leben" (The inner-life of Christians shines), Renouncing the World & Being Oneself) and BWV 459, "Es kostet viel, ein Christ zu sein" (It costs much to be a Christian

FOOTNOTES

¹ See: Edition Bachakademie Vol. 84, A Book of Chorale-Settings for Patience & Serenity/Jesus Hymns, http://www.bach-cantatas.com/Vocal/BWV250-438-Rilling.htm, CH-11, contains 19 Jesus Hymns (https://www.youtube.com/watch?v=vvIyL34zUTQ&t=254s, Nos. 10-28, Jesulieder.
² Christian Keymann (1607-1662), http://www.bach-cantatas.com/Lib/Keymann.htm, German text, http://www.bach-cantatas.com/Texts/Chorale499-Eng3.htm; English (on-line) translation, https://translate.google.com/translate?hl=en&sl=de&u=https://www.bach-digital.de/receive/BachDigitalWork_work_00000480&prev=search, "Link to the text"; melody information, http://www.bach-cantatas.com/CM/BWV499.htm;
³ Charles S. Terry, Bach’s Chorals, Part III, "The Hymns and Hymn Melodies of the Organ Works" (Cambridge University Press, 2018: 292ff), http://oll.libertyfund.org/titles/2057.
⁴ "O Jesu du, edle Gabe," Johann Böttiger (1613-1672) short biography and German text, https://books.google.com/books?id=P_ssAAAAYAAJ&pg=PA35&lpg=PA35&dq=J.+Böttiger,+o+jesu+du+edle+gabe&source=bl&ots=si8hHzs50R&sig=NNmanxEZ2gm0jgiB-kJ2XOL-p4k&hl=en&sa=X&ved=0ahUKEwjItOeipvbYAhWFMGMKHYxLDIUQ6AEIVDAK#v=onepage&q=J.%20Böttiger%2C%20o%20jesu%20du%20edle%20gabe&f=false; refrain English translation, Peter Williams, https://books.google.com/books?id=JPE6AAAAIAAJ&pg=PA309&lpg=PA309&dq=sei+gegrusset+jesu+gutig+tekst&source=bl&ots=OKYzrqtXu9&sig=a-BbhAuWLzUOVOfsVP3HZIqqSXk&hl=en&sa=X&ved=0ahUKEwjgtpj0nvbYAhVF1mMKHU2-Aaw4ChDoAQhFMAU#v=onepage&q=sei%20gegrusset%20jesu%20gutig%20tekst&f=false.
⁵ Adam Drese (1620-1701, biography, http://www.bach-cantatas.com/Lib/Drese.htm; German text, http://www.bach-cantatas.com/Texts/Chorale496-Eng3.htm; English (on-line) translation. https://translate.google.com/translate?hl=en&sl=de&u=http://www.bach-cantatas.com/Texts/Chorale496-Eng3.htm&prev=search; melody information, http://www.bach-cantatas.com/CM/BWV496.htm.
⁶ Markus Rathey https://books.google.com/books?id=UHDADAAAQBAJ&pg=PA162&lpg=PA162&dq=seelenbrautigam+images&source=bl&ots=gW-NWVDWjH&sig=I09ZHvJmooatznMqzNe3jccgOHY&hl=en&sa=X&ved=0ahUKEwjpzOfWvvbYAhVLwWMKHYiiD-QQ6AEIYDAT#v=onepage&q=seelenbrautigam%20images&f=false).
⁷ "Nur mein Jesu ist mein Leben"; German Text, http://www.bach-cantatas.com/Texts/Chorale490-Eng3.htm; English (on-line) translation, https://translate.google.com/translate?hl=en&sl=de&u=http://www.bach-cantatas.com/Texts/Chorale490-Eng3.htm&prev=search; melody information, https://translate.google.com/translate?hl=en&sl=de&u=http://www.bach-cantatas.com/Texts/Chorale490-Eng3.htm&prev=search.
⁸ Johann Flitner biography, https://hymnary.org/person/Flitner_J; German text, http://www.bach-cantatas.com/Texts/Chorale473-Eng3.htm; English (on-line) translation https://translate.google.com/translate?hl=en&sl=de&u=http://www.bach-cantatas.com/Texts/Chorale473-Eng3.htm&prev=search; melody information, https://translate.google.com/translate?hl=en&sl=de&u=http://www.bach-cantatas.com/Texts/Chorale473-Eng3.htm&prev=search; Johann Rudolf Ahle (1625-73), biography, http://www.bach-cantatas.com/Lib/Ahle-Johann-Rudolf.htm.
⁹ “Ach, was soll ich Sunder machen” German text, https://hymnary.org/text/ach_was_soll_ich_suender_machen.; English (on-line) translation, https://translate.google.com/translate?hl=en&sl=de&u=https://hymnary.org/text/ach_was_soll_ich_suender_machen&prev=search; BWV 770, Peter Williams commentary, https://books.google.com/books?id=gTXxUk1LAowC&pg=PA525&lpg=PA525&dq=BWV+770+Peter+Williams+Bach+Organ+Music&source=bl&ots=yaYZOG7f7p&sig=B4wcshIV2icPg1gMmtMwCAFqm0U&hl=en&sa=X&ved=0ahUKEwiJ0MmmjpDYAhUIzGMKHYMoAw8Q6AEILzAB#v=onepage&q=BWV%20770%20Peter%20Williams%20Bach%20Organ%20Music&f=false.
¹⁰ Wolfgang Christoph Dreßler (1660-1722) biography, http://www.bach-cantatas.com/Lib/Dressler.htm; German text, http://www.bach-cantatas.com/Texts/Chorale467-Eng3.htm; English (Winkworth) translation, https://hymnary.org/text/my_jesus_if_the_seraphim; melody information, http://www.bach-cantatas.com/CM/BWV467.htm.
¹¹ "Mein Jesu, dem die Seraphinen," German text, http://www.bach-cantatas.com/Texts/Chorale486-Eng3.htm; English (on-line) translation, https://translate.google.com/translate?hl=en&sl=de&u=http://www.bach-cantatas.com/Texts/Chorale486-Eng3.htm&prev=search; melody information, https://translate.google.com/translate?hl=en&sl=de&u=http://www.bach-cantatas.com/Texts/Chorale486-Eng3.htm&prev=search.
¹² Gottfried Wilhelm Sacher (1635-1699, biography http://bach-cantatas.com/Lib/Sacer.htm. German text, http://www.bach-cantatas.com/Texts/Chorale472-Eng3.htm; English (on-line) translation, https://translate.google.com/translate?hl=en&sl=de&u=http://www.bach-cantatas.com/Texts/Chorale472-Eng3.htm&prev=search; melody information, https://translate.google.com/translate?hl=en&sl=de&u=http://www.bach-cantatas.com/Texts/Chorale472-Eng3.htm&prev=search, https://translate.google.com/translate?hl=en&sl=de&u=http://www.bach-cantatas.com/Texts/Chorale472-Eng3.htm&prev=search; details, https://books.google.com/books?id=nZ46AAAAMAAJ&pg=RA5-PA48&lpg=RA5-PA48&dq=jesu+meines+glaubens+zier+text&source=bl&ots=-cKTiiDSVh&sig=qfYO0NKvpZPbeLfuEFfa8DNkQkk&hl=en&sa=X&ved=0ahUKEwjprJOFjvnYAhWKqlQKHRITDpoQ6AEIZjAJ#v=onepage&q=jesu%20meines%20glaubens%20zier%20text&f=false.
¹³ "Jesu, Jesu, du bist mein," German text, http://www.bach-cantatas.com/Texts/Chorale470-Eng3.htm; English (on-line) translation, https://translate.google.com/translate?hl=en&sl=de&u=http://www.bach-cantatas.com/Texts/Chorale470-Eng3.htm&prev=search; melody information, http://www.bach-cantatas.com/CM/BWV470.htm.
¹⁴ Charles S. Terry, J.S. Bach's Original Hymn-tunes for Congregational Use, https://books.google.com/books?id=07g2AQAAMAAJ&pg=PA7&lpg=PA7&dq=jesu+jesu+du+bist+mein+Zahn&source=bl&ots=s09rr4VaI9&sig=TLs_VAqLX_FZGBLQd4fa2FSyBtc&hl=en&sa=X&ved=0ahUKEwiF9If71PbYAhVE4GMKHf4VCV0Q6AEITzAK#v=onepage&q=jesu%20jesu%20du%20bist%20mein%20Zahn&f=false.
¹⁵ Georg Christian Schmelli (c.1678-1762), biography http://www.bach-cantatas.com/Lib/Schemelli-Georg-Christian.htm; German text, http://www.bach-cantatas.com/Texts/Chorale468-Eng3.htm; English (on-line) translation, https://translate.google.com/translate?hl=en&sl=de&u=http://www.bach-cantatas.com/Texts/Chorale468-Eng3.htm&prev=search; melody information, http://www.bach-cantatas.com/CM/BWV468.htm; further information, https://books.google.com/books?id=eNFFAQAAMAAJ&pg=PA97&lpg=PA97&dq=bach+ich+liebe+jesum+alle+stund+Zahn&source=bl&ots=mi5WfpJ2vC&sig=BiuB_VKyzisR_y75oK52FZWlww4&hl=en&sa=X&ved=0ahUKEwiNk-nt_fjYAhVM6WMKHRUbAYIQ6AEIUjAL#v=onepage&q=bach%20ich%20liebe%20jesum%20alle%20stund%20Zahn&f=false.
¹⁶ Christian Friedrich Richter (1676-1711) biography, http://www.bach-cantatas.com/Lib/Richter-Christian-Friedrich.htm; German text, http://www.bach-cantatas.com/Texts/Chorale474-Eng3.htm; English (on-line text), https://translate.google.com/translate?hl=en&sl=de&u=http://www.bach-cantatas.com/Texts/Chorale474-Eng3.htm&prev=search; melody information, http://www.bach-cantatas.com/CM/BWV474.htm.

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To come: 4th Sunday in Epiphany, Chorale Cantata 14, "Wär Gott nicht mit uns diese Zeit" (If God were not with us at this time).