The tune is not found elsewhere. There seems to be no ground on which to base either conclusion. It is included in some nineteenth century Hymn books, and seems to be another form of a tune, to the same Hymn, found in various versions Zahn, Nos. The melody is not found elsewhere.
It has an unmistakeable Bach curve. Choralgesange iii. Spitta 1 attributes the tune to Bach without qualification. But the compass of the tune is incompatible with congregational use. The tune is not found in any of the regular Hymn books. There was in existence already, but not in very general use, a melody to the Hymn by Johann Georg Ebeling The tune itself establishes a conviction that Bach composed it.
It is not found in the regular Hymn books. The probable author of the Hymn, Christoph Wegleiter, died in Whether Bach was the author the tune does not help to decide. Spitta 1 expresses himself positively to that effect. The Hymn was wedded to a proper melody of its own since , and Zahn reveals the existence of four others. It is not found in any other eighteenth century collection, and its Aria character seems to justify a positive ascription of it to Bach. It is characteristic of his Aria type, and indubitably is his. It is in the form of a Gigue and is his unmistakeably. The Hymn had a melody of its own , which Konig uses, and another more recent If the pauses be neglected the Aria form of the melody appears, and justifies the ascription of the tune to Bach.
The melody, which is not found elsewhere, reads like Bach. Choralgesange no. Spitta 2 attributes the tune to Bach without qualification.
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See also B. The melody is not found in any other Hymn book. The Hymn had been set by Johann Ludwig Steiner in , but his tune was little known. It is so distinctive of his style that his authorship may be accepted. It differs greatly in character from earlier tunes in the same metre It is not found in any Hymn book earlier than the nineteenth century. It is, in fact, unmistakeably his, and is not found in any of the regular Hymn books. It is found in a few modern Hymn books. Its intrinsic qualities do not Edition: current; Page: [ ] justify his confidence.
That fact, and especially its general atmosphere, rouse a conviction that the melody is of earlier date than and that Bach was not the author of it. Bach D. It is unfigured. Becker no. Spitta 1 attributes the melody to Bach without qualification. The Hymn, by Zacharias Hermann , was published in , without a melody. Main, The Hymn was written during the plague of The initial Edition: current; Page: [ ] letters of its seven stanzas W. Nicolai was born at Mengeringhausen in He died there in It is improbable that Nicolai composed the melody. The melody also occurs in Cantatas 36, 37, 49, 61, and There is another harmonisation of it in the Choralgesange, No.
Organ Works, Novello, xix. English translations of the Hymn are noted in the Dictionary of Hymnology, pp. Embellished 2 Corni, 2 Ob. Choralgesange, No. The Hymn was published in the same year in the Erfurt Enchiridion Oder eyn Handbuchlein, in association with the melody printed above. Walther arranged yet a third melody for the Hymn in his Geystliche gesangk Buchleyn Wittenberg, English translations of the Hymn are noted in the Dictionary of Hymnology, p.
Choral Motett 2 Ob. Simple 2 Ob. In he became chief pastor at Gorlitz, and died there in It bears, however, so close a resemblance to a Konigsberg ms. Oder, Bach uses the melody also in Cantatas Nos. The words of the opening movement are part of the first stanza of the Hymn:.
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Choral Fantasia 2 Ob. The cantus is with the Basses. The Choral of the second movement Recitativo is part of the first and second stanzas of the Hymn:. The Chorus S. The words of the concluding Choral are part of the twelfth stanza of the Hymn:. Bach uses the melody also in Cantata Other harmonisations of the tune are in the Edition: current; Page: [ ] Choralgesange, Nos.
Organ Works, N. Soprano and Alto Duetto, the former voice having a somewhat free treatment of the cantus Cornetto, Trombone I, Continuo. Choral Fantasia in Motett form Continuo. The cantus is with the Altos.
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Soprano and Tenor Duetto, treating the cantus somewhat freely in canon Continuo. Simple Cornetto, 3 Trombones, Strings, Continuo. The melody also occurs in Cantatas 89, , , and An English translation of the Hymn is noted in the Dictionary of Hymnology, p. Choral Fantasia Tromba da tirarsi, 2 Ob. Simple Tromba da tirarsi, 2 Ob. No doubt it is by him. There are other harmonisations of the Alto melody in the Choralgesange, Nos. Only stanzas iii-ix are by him. Selnecker was born at Hersbruck in He was a very prominent figure in ecclesiastical Germany and died at Leipzig in Translations of the Hymn are noted in the Dictionary of Hymnology, pp.
Soprano Unison Choral Violoncello piccolo, Continuo 1. The similarity between the melodies is matched by the intimate association of the two Hymns.wegoup777.online/distrito-federal-historias-de-un.php
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Bach uses the melody also in Cantata No. The sharpened fourth note of the tune in this movement is found in an early text English translations of the Hymn are noted in the Dictionary of Hymnology, No. There is another harmonisation of it in Choralgesange, No. English translations are noted in the Dictionary of Hymnology, p. The cantus is with the Tenor 1. Neumann was a native of Breslau, where he was born in He died in Bach has not used the melody elsewhere. Simple Corno, Flauto, 2 Ob. It was published in the Etlich Christlich lider Lobgesang, und Psalm Wittenberg, and repeated in the Erfurt Enchiridion of the same year.
The words of the first movement are the first three clauses of the Magnificat:. Choral Fantasia Tromba, 2 Ob. The cantus is first with the Sopranos and then with the Altos.
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The words of the concluding Choral are the doxology to the Magnificat:. Simple Tromba, 2 Ob. Bach uses the melody as an obbligato 2 Ob. Melodeien Luneburg, Simple 2 Fl. Wolfgang Figulus  1. Oder,  2. It appears in Cantatas 73, It appears to originate as a Tenor melody of the first melody, to which its own Tenor bears a clear relation.
In spite of its derivation, its individuality permits the tune to be regarded as a separate melody. The authorship of the tune has been attributed to Severus Gastorius of Jena, for whom the Hymn was written. The tune certainly is associated with Pachelbel, who set it in Motett form during his residence at Erfurt, c.
Its opening three notes and its seventh line are identical with the opening line of the melody supra. Bourgeois, born in Paris early in the 16th century, was invited to Geneva in In he succeeded Guillaume Franc d. Bach uses the melody also in Cantatas 19, 25, 30, 32, 39, 70, and Thence he was sent on an embassy to Russia and Persia The Hymn was written in , on the eve of his departure for Russia.
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In Flemming graduated M. Simple Flauti, Oboe, Strings, Continuo. Translations of the Hymn are noted in the Dictionary of Hymnology, p.