List of chorale harmonisations by Johann Sebastian Bach: Difference between revisions
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Prior to this publication, several other collections had been published, starting with 100 chorales in 1765 by F.W. Birnstiel in Berlin, started by F.W. Marpurg and completed, edited and supplied with a preface and supplemented with a list of errors by C.P.E. Bach. A second volume of 100 was issued by the same publisher in 1769, edited by [[Johann Friedrich Agricola|J.F. Agricola]], which was heavily criticised as being full of mistakes by C.P.E. Bach in Hamburg in an article in the ''Staats- und Gelehrte Zeitung des Hamburgischen unpartheyeschen Correspondenten'' on May 30, 1769, where he also claimed that some of the chorale harmonizations included in the volume had not been composed by his father. |
Prior to this publication, several other collections had been published, starting with 100 chorales in 1765 by F.W. Birnstiel in Berlin, started by F.W. Marpurg and completed, edited and supplied with a preface and supplemented with a list of errors by C.P.E. Bach. A second volume of 100 was issued by the same publisher in 1769, edited by [[Johann Friedrich Agricola|J.F. Agricola]], which was heavily criticised as being full of mistakes by C.P.E. Bach in Hamburg in an article in the ''Staats- und Gelehrte Zeitung des Hamburgischen unpartheyeschen Correspondenten'' on May 30, 1769, where he also claimed that some of the chorale harmonizations included in the volume had not been composed by his father. |
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In 1777 Johann Kirnberger started an active letter campaign to induce Breitkopf to publish a "complete" (sic) set of chorale harmonisations. Kirnberger's letters emphasize his motivation to have the chorales printed in order to preserve them for the benefit of future generations. The manuscript to be used once belonged to C.P.E. Bach, who sold it through Kirnberger to [[Princess Anna Amalia of Prussia]] (for twelve [[louis d'or]]). It is presumed that this manuscript contained neither the text of the chorales nor any reference to the larger works from which the harmonizations had been taken. The manuscript's harmonizations extracted only the vocal parts and ignored the instrumental parts and the continuo, even though all of Bach's chorale settings included both instrumental parts and continuo. The instrumental parts were either independent, so called obbligato instrumental parts, or mostly doubled the vocal parts sometimes separating from it for a very few beats, and the continuo had its bass mostly double the vocal bass at the lower octave, but could also separate from it for a very few beats. (In some cases Riemenscheider's restores some information about obbligato instrumental parts when the larger work is extant, e.g. its no. 270 from cantata BWV 161, etc. or about the continuo bass line if this does not exactly coincide with the vocal bass, e.g. its no. 29 from cantata [[BWV 32]], its no. 35 from [[Christmas Oratorio|Weihnachts-Oratorium]] BWV 248, etc.) Finally in some cases, for reasons unknown, whoever extracted the chorale from the larger work, changed the key of the setting. (Riemenschneider's does ''not'' restore the original key even if the larger work is extant but instead keeps the chorale in the key in which it is found in the Breitkopf collection, e.g. its no. 22, in E-flat major comes from cantata BWV 180 where it is in F major<ref>At times the key signature in Riemenschneider's does not correspond to the key (such as in the case of no. 19, in G minor but written with a "Dorian" G key signature); this too is presumably reproduced from the Breitkopf edition, which would have followed a common 17th- and 18th-century practice</ref> |
In 1777 Johann Kirnberger started an active letter campaign to induce Breitkopf to publish a "complete" (sic) set of chorale harmonisations. Kirnberger's letters emphasize his motivation to have the chorales printed in order to preserve them for the benefit of future generations. The manuscript to be used once belonged to C.P.E. Bach, who sold it through Kirnberger to [[Princess Anna Amalia of Prussia]] (for twelve [[louis d'or]]). It is presumed that this manuscript contained neither the text of the chorales nor any reference to the larger works from which the harmonizations had been taken. The manuscript's harmonizations extracted only the vocal parts and ignored the instrumental parts and the continuo, even though all of Bach's chorale settings included both instrumental parts and continuo. The instrumental parts were either independent, so called obbligato instrumental parts, or mostly doubled the vocal parts sometimes separating from it for a very few beats, and the continuo had its bass mostly double the vocal bass at the lower octave, but could also separate from it for a very few beats. (In some cases Riemenscheider's restores some information about obbligato instrumental parts when the larger work is extant, e.g. its no. 270 from cantata BWV 161, etc. or about the continuo bass line if this does not exactly coincide with the vocal bass, e.g. its no. 29 from cantata [[BWV 32]], its no. 35 from [[Christmas Oratorio|Weihnachts-Oratorium]] BWV 248, etc.) Finally in some cases, for reasons unknown, whoever extracted the chorale from the larger work, changed the key of the setting. (Riemenschneider's does ''not'' restore the original key even if the larger work is extant but instead keeps the chorale in the key in which it is found in the Breitkopf collection, e.g. its no. 22, in E-flat major comes from cantata BWV 180 where it is in F major.<ref>At times the key signature in Riemenschneider's does not correspond to the key (such as in the case of no. 19, in G minor but written with a "Dorian" G key signature); this too is presumably reproduced from the Breitkopf edition, which would have followed a common 17th- and 18th-century practice.</ref> |
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After Kirnberger died in 1783, C.P.E. Bach became Breitkopfs's editor for these chorales, which he then published in four parts: 1784: nos. 1–96, 1785: nos. 97–194, 1786: 195–283, 1787: 283–370 (the number 283 was mistakenly used for two different chorales which became 283a and 283b; this numbering error was corrected from the 1831 dritte Auflage on). This publication went through four more editions and countless reprintings until 1897 (see above). Additionally, several other editions using the original [[Clef#Soprano clef†|C-clef]] or different texts were also published. The [[Bach Gesellschaft]] published the original 371 chorales from the C.P.E. Bach edition in volume 39 of their ''Complete Works'' in 1892. The most significant recent publication is Dr. Charles Sanford Terry's ''J.S. Bach's Four-Part Chorales'', Oxford University Press 1929 (reprinted 1964, with a foreword by Walter Emery), which contains 405 harmonised chorales and 95 melodies with figured bass. The most widely known collection is [[Albert Riemenschneider]]'s ''371'' (1941). |
After Kirnberger died in 1783, C.P.E. Bach became Breitkopfs's editor for these chorales, which he then published in four parts: 1784: nos. 1–96, 1785: nos. 97–194, 1786: 195–283, 1787: 283–370 (the number 283 was mistakenly used for two different chorales which became 283a and 283b; this numbering error was corrected from the 1831 dritte Auflage on). This publication went through four more editions and countless reprintings until 1897 (see above). Additionally, several other editions using the original [[Clef#Soprano clef†|C-clef]] or different texts were also published. The [[Bach Gesellschaft]] published the original 371 chorales from the C.P.E. Bach edition in volume 39 of their ''Complete Works'' in 1892. The most significant recent publication is Dr. Charles Sanford Terry's ''J.S. Bach's Four-Part Chorales'', Oxford University Press 1929 (reprinted 1964, with a foreword by Walter Emery), which contains 405 harmonised chorales and 95 melodies with figured bass. The most widely known collection is [[Albert Riemenschneider]]'s ''371'' (1941). |
Revision as of 15:15, 31 March 2014
The List of chorale harmonisations by Johann Sebastian Bach consists of 189 chorales by Johann Sebastian Bach which have been assigned the numbers 250–438 in the Bach-Werke-Verzeichnis (BWV), the catalogue of Bach's works by Wolfgang Schmieder. There are many more chorale harmonisations to be found in Bach's cantatas, motets, passions and in his collection Notebook for Anna Magdalena Bach, but the works in this list are not attached to any larger work or that larger work has been lost. Almost all of the melodies of these chorales are not by Bach but go back to older sources.
Another well known collection of chorale melodies is the Schemellis Gesangbuch (Schemelli's Hymnal), or Geistliche Lieder (Sacred Songs), published in 1736 by Georg Christian Schemelli (c. 1678–1762). These are not four-part harmonisations like the ones in this list but chorale melodies and a basso continuo; again, almost none of those melodies are by Bach.
The composer and musicologist Johann Kirnberger (1721–1783) compiled a list of chorale preludes: see BWV 690–713.
History
The first record of the existence and sale of groups of collected chorale harmonizations and chorale melodies with figured bass extracted from larger works by J.S. Bach is from 1764, fourteen years after Bach's death. In that year the firm Breitkopf und Sohn announced for sale manuscript copies of 150 chorale harmonizations and 240 chorale melodies with figured bass by J.S. Bach.
C.P.E. Bach published with Breitkopf from 1784 to 1787 a four volume collection of J.S. Bach's chorales, ostensibly 371 in number, but in fact 348. This collection was republished in 1804 ("neue Auflage"), in 1831 ("dritte Auflage", by Breitkopf & Härtel, preface by C. F. Becker), in 1885 ("vierte Auflage", edited by C. F. Becker) and in 1897 (edited by E. Naumann). About half of the chorale harmonizations in this collection have their origin in other extant works by Bach; the other half, extracted from works by Bach which are now lost, is presented in the table below, although an origin can now be assigned to six of them.
Prior to this publication, several other collections had been published, starting with 100 chorales in 1765 by F.W. Birnstiel in Berlin, started by F.W. Marpurg and completed, edited and supplied with a preface and supplemented with a list of errors by C.P.E. Bach. A second volume of 100 was issued by the same publisher in 1769, edited by J.F. Agricola, which was heavily criticised as being full of mistakes by C.P.E. Bach in Hamburg in an article in the Staats- und Gelehrte Zeitung des Hamburgischen unpartheyeschen Correspondenten on May 30, 1769, where he also claimed that some of the chorale harmonizations included in the volume had not been composed by his father.
In 1777 Johann Kirnberger started an active letter campaign to induce Breitkopf to publish a "complete" (sic) set of chorale harmonisations. Kirnberger's letters emphasize his motivation to have the chorales printed in order to preserve them for the benefit of future generations. The manuscript to be used once belonged to C.P.E. Bach, who sold it through Kirnberger to Princess Anna Amalia of Prussia (for twelve louis d'or). It is presumed that this manuscript contained neither the text of the chorales nor any reference to the larger works from which the harmonizations had been taken. The manuscript's harmonizations extracted only the vocal parts and ignored the instrumental parts and the continuo, even though all of Bach's chorale settings included both instrumental parts and continuo. The instrumental parts were either independent, so called obbligato instrumental parts, or mostly doubled the vocal parts sometimes separating from it for a very few beats, and the continuo had its bass mostly double the vocal bass at the lower octave, but could also separate from it for a very few beats. (In some cases Riemenscheider's restores some information about obbligato instrumental parts when the larger work is extant, e.g. its no. 270 from cantata BWV 161, etc. or about the continuo bass line if this does not exactly coincide with the vocal bass, e.g. its no. 29 from cantata BWV 32, its no. 35 from Weihnachts-Oratorium BWV 248, etc.) Finally in some cases, for reasons unknown, whoever extracted the chorale from the larger work, changed the key of the setting. (Riemenschneider's does not restore the original key even if the larger work is extant but instead keeps the chorale in the key in which it is found in the Breitkopf collection, e.g. its no. 22, in E-flat major comes from cantata BWV 180 where it is in F major.[1]
After Kirnberger died in 1783, C.P.E. Bach became Breitkopfs's editor for these chorales, which he then published in four parts: 1784: nos. 1–96, 1785: nos. 97–194, 1786: 195–283, 1787: 283–370 (the number 283 was mistakenly used for two different chorales which became 283a and 283b; this numbering error was corrected from the 1831 dritte Auflage on). This publication went through four more editions and countless reprintings until 1897 (see above). Additionally, several other editions using the original C-clef or different texts were also published. The Bach Gesellschaft published the original 371 chorales from the C.P.E. Bach edition in volume 39 of their Complete Works in 1892. The most significant recent publication is Dr. Charles Sanford Terry's J.S. Bach's Four-Part Chorales, Oxford University Press 1929 (reprinted 1964, with a foreword by Walter Emery), which contains 405 harmonised chorales and 95 melodies with figured bass. The most widely known collection is Albert Riemenschneider's 371 (1941).
Bach's chorale harmonizations are exclusively (as far as vocal parts are concerned) in 4 parts, but Riemenschneider's and Terry's collections contain one 5-part SSATB choral harmonization (Welt, ade! ich bin dein müde, Riemenscheider no. 150, Terry no. 365), not actually by Bach, but used by Bach as the concluding chorale to cantata Wer weiß, wie nahe mir mein Ende? BWV 27.
In the case of the chorales, the loss of musical material in manuscript from Bach's death to the first printings may have been substantial. Not only are many works the chorales were extracted from no longer extant but there is no way of knowing how much of all the harmonizations that were once compiled the current collections include. For example there is no way of knowing how many of the 150 harmonizations first proposed for sale in 1764 also appear in Princess Anna Amalia's manuscript which ultimately forms the basis of the Breitkopf edition. As to the chorale melodies with figured bass, current collections include less than one hundred of them whereas those proposed for sale in 1764 numbered 240.
The table below provides a cross reference of those compilations with the works in this range of BWV numbers, although the available compilations also contain many other chorales not in this range.
Chorale harmonisations (BWV 250–438)
Title | BWV | Kalmus | Bärenreiter Kirnberger |
Musica Budapest |
Riemenschneider | Source/notes |
---|---|---|---|---|---|---|
Was Gott tut, das ist wohlgetan | 250 | 339 | 346 | 342 | 347 | 1st Wedding Chorale in this group |
Sei Lob und Ehr' dem höchsten Gut (melody known as "Es ist das Heil uns kommen her") | 251 | 89 | 328 | 91 | 329 | 2nd Wedding Chorale in this group |
Nun danket alle Gott | 252 | 258 | 329 | 258 | 330 | 3rd Wedding Chorale in this group |
Ach bleib bei uns, Herr Jesu Christ | 253 | 1 | 177 | 1 | 177 | |
Ach Gott, erhör' mein Seufzen | 254 | 2 | 186 | 2 | 186 | |
Ach Gott und Herr | 255 | 3 | 40 | 4 | 40 | |
Ach lieben Christen, seid getrost | 256 | 385 | 31 | 385 | 31 | |
Wär Gott nicht mit uns diese Zeit (melody known as "Wo Gott der Herr nicht bei uns hält") | 257 | 388 | 284 | 386 | 285 | |
Wo Gott der Herr nicht bei uns hält | 258 | 383 | 335 | 387 | 336 | No. 63 in Schemelli |
Ach, was soll ich Sünder machen | 259 | 10 | 39 | 10 | 39 | |
Allein Gott in der Höh' sei Ehr' | 260 | 12 | 249 | 16 | 249 | |
Allein zu dir, Herr Jesu Christ | 261 | 15 | 358 | 18 | 359 | |
Alle Menschen müssen sterben | 262 | 17 | 153 | 13 | 153 | |
Alles ist an Gottes Segen | 263 | 19 | 128 | 19 | 128 | |
Als der gütige Gott | 264 | 20 | 159 | 20 | 159 | |
Als Jesus Christus in der Nacht | 265 | 21 | 180 | 21 | 180 | |
Als vierzig Tag nach Ostern | 266 | 22 | 208 | 22 | 208 | |
An Wasserflüssen Babylon | 267 | 23 | 5 | 23 | 5 | |
Auf, auf, mein Herz, und du mein ganzer Sinn | 268 | 24 | 124 | 24 | 124 | |
Aus meines Herzens Grunde | 269 | 30 | 1 | 30 | 1 | |
Befiehl du deine Wege (melody known as "Herzlich tut mich verlangen") | 270 | 157 | 285 | 162 | 286 | |
Befiehl du deine Wege (or "Herzlich tut mich verlangen") | 271 | 158 | 366 | 163 | 367 | |
Befiehl du deine Wege | 272 | 32 | 339 | 32 | 340 | |
Christ, der du bist der helle Tag | 273 | 33 | 230 | 33 | 230 | |
Christe, der du bist Tag und Licht | 274 | 34 | 245 | 44 | 245 | |
Christe, du Beistand deiner Kreuzgemeinde | 275 | 35 | 210 | 45 | 210 | |
Christ ist erstanden | 276 | 36 | 197 | 35 | 197 | |
Christ lag in Todes Banden | 277 | 38 | 15 | 39 | 15 | |
Christ lag in Todesbanden | 278 | 39 | 370 | 40 | 371 | |
Christ lag in Todesbanden | 279 | 40 | 261 | 37 | 261 | |
Christ, unser Herr, zum Jordan kam | 280 | 43 | 65 | 43 | 66 | |
Christus, der ist mein Leben | 281 | 46 | 7 | 47 | 6 | |
Christus, der ist mein Leben | 282 | 47 | 315 | 48 | 316 | BWV 95 Christus, der ist mein Leben (opening chorus) |
Christus, der uns selig macht | 283 | 48 | 198, 306 | 51 | 198, 307 | |
Christus ist erstanden, hat überwunden | 284 | 51 | 200 | 52 | 200 | |
Da der Herr Christ zu Tische saß | 285 | 52 | 196 | 53 | 196 | |
Danket dem Herren | 286 | 53 | 228 | 55 | 228 | |
Dank sei Gott in der Höhe | 287 | 54 | 310 | 54 | 311 | |
Das alte Jahr vergangen ist | 288 | 55 | 162 | 56 | 162 | |
Das alte Jahr vergangen ist | 289 | 56 | 313 | 57 | 314 | |
Das walt' Gott Vater und Gott Sohn | 290 | 58 | 224 | 59 | 224 | |
Das walt' mein Gott, Vater, Sohn und heiliger Geist | 291 | 59 | 75 | 60 | 75 | |
Den Vater dort oben | 292 | 60 | 239 | 61 | 239 | |
Der du bist drei in Einigkeit | 293 | 61 | 154 | 62 | 154 | |
Der Tag, der ist so freudenreich | 294 | 62 | 158 | 63 | 158 | |
Des heil'gen Geistes reiche Gnad' | 295 | 63 | 207 | 64 | 207 | |
Die Nacht ist kommen | 296 | 64 | 231 | 65 | 231 | |
Die Sonn' hat sich mit ihrem Glanz | 297 | 65 | 232 | 66 | 232 | |
Dies sind die heil'gen zehn Gebot' | 298 | 66 | 127 | 67 | 127 | |
Dir, dir, Jehova, will ich singen | 299 | 67 | 209 | 68 | 209 | Notenbüchlein für Anna Magdalena Bach |
Du grosser Schmerzensmann | 300 | 70 | 164 | 71 | 167 | |
Du, o schönes Weltgebäude | 301 | 71 | 137 | 73 | 134 | |
Ein feste Burg ist unser Gott | 302 | 74 | 20 | 76 | 20 | |
Ein feste Burg ist unser Gott | 303 | 75 | 250 | 77 | 250 | |
Eins ist Not! ach Herr, dies Eine | 304 | 77 | 280 | 78 | 280 | |
Erbarm' dich mein, o Herre Gott | 305 | 78 | 33 | 79 | 34 | |
Erstanden ist der heil'ge Christ | 306 | 85 | 176 | 86 | 176 | |
Es ist gewisslich an der Zeit | 307 | 262 | 260 | 262 | 260 | |
Es spricht der Unweisen Mund wohl | 308 | 92 | 27 | 93 | 27 | |
Es stehn vor Gottes Throne | 309 | 93 | 166 | 94 | 166 | |
Es wird schier der letzte Tag herkommen | 310 | 94 | 238 | 95 | 238 | |
Es woll' uns Gott genädig sein | 311 | 95 | 16 | 97 | 16 | |
Es woll' uns Gott genädig sein | 312 | 96 | 351 | 98 | 352 | |
Für Freuden lasst uns springen | 313 | 106 | 163 | 107 | 163 | |
Gelobet seist du, Jesu Christ | 314 | 107 | 287 | 112 | 288 | |
Gib dich zufrieden und sei stille | 315 | 111 | 271 | 113 | 271 | |
Gott, der du selber bist das Licht | 316 | 112 | 225 | 114 | 225 | |
Gott, der Vater, wohn' uns bei | 317 | 113 | 134 | 115 | 135 | |
Gottes Sohn ist kommen | 318 | 115 | 18 | 120 | 18 | |
Gott hat das Evangelium | 319 | 116 | 181 | 117 | 181 | |
Gott lebet noch | 320 | 117 | 234 | 118 | 234 | No. 37 in Schemelli |
Gottlob, es geht nunmehr zu Ende | 321 | 118 | 192 | 121 | 192 | |
Gott sei gelobet und gebenedeiet / Meine Seele erhebet den Herrn | 322 | 119 | 70 | 119 | 70 | |
Gott sei uns gnädig | 323 | 120 | 319 | 239 | 320 | melody better known as "Meine Seele erhebt den Herren" – the "German Magnificat" or Tonus peregrinus |
Meine Seele erhebet den Herrn | 324 | 121 | 130 | 240 | 130 | |
Heilig, heilig (or Sanctus, Sanctus, Dominus Deus Sabaoth) | 325 | 123 | 235, 318 | 122 | 235, 319 | |
Herr Gott, dich loben alle wir | 326 | 129 | 167 | 129 | 164 | |
Vor deinen Thron tret' ich hiermit (or "Herr Gott, dich loben alle wir") | 327 | 132 | 333 | 130 | 334 | |
Herr, Gott, dich loben wir | 328 | 133 | 205 | 133 | 205 | |
Herr, ich denk' an jene Zeit | 329 | 136 | 212 | 134 | 212 | |
Herr, ich habe missgehandelt | 330 | 137 | 35 | 135 | 33 | |
Herr, ich habe missgehandelt | 331 | 138 | 286 | 136 | 287 | |
Herr Jesu Christ, dich zu uns wend | 332 | 139 | 136 | 137 | 136 | |
Herr Jesu Christ, du hast bereit't | 333 | 140 | 226 | 138 | 226 | |
Herr Jesu Christ, du höchstes Gut | 334 | 141 | 73 | 142 | 73 | |
Herr Jesu Christ (or O Jesu Christ), mein's Lebens Licht (or O Jesu, du mein Bräutigam) | 335 | 145 | 236 | 143 | 295 | BWV 118 O Jesu Christ, mein's Lebens Licht |
Herr Jesu Christ, wahr'r Mensch und Gott | 336 | 146 | 189 | 145 | 189 | |
Herr, nun lass in Frieden | 337 | 148 | 190 | 146 | 190 | |
Herr, straf mich nicht in deinem Zorn | 338 | 149 | 221 | 147 | 221 | |
Herr, wie du willst, so schick's mit mir or Wer in dem Schutz des Höchsten | 339 | 151 | 144 | 149 | 144, 318 | |
Herzlich lieb hab ich dich, o Herr | 340 | 152 | 277 | 153 | 277 | |
Heut' ist, o Mensch, ein grosser Trauertag | 341 | 170 | 168 | 168 | 168 | |
Heut' triumphieret Gottes Sohn | 342 | 171 | 79 | 169 | 79 | |
Hilf, Gott, dass mir's gelinge | 343 | 172 | 199, 301 | 170 | 199, 302 | |
Hilf, Herr Jesu, lass gelingen | 344 | 173 | 155 | 171 | 155 | |
Ich bin ja, Herr, in deiner Macht | 345 | 174 | 251 | 172 | 251 | |
Ich dank' dir Gott für all' Wohltat | 346 | 175 | 223 | 173 | 223 | |
Ich dank' dir, lieber Herre | 347 | 176 | 2 | 175 | 2 | |
Ich dank' dir, lieber Herre | 348 | 177 | 272 | 176 | 272 | |
Ich dank' dir schon durch deinen Sohn | 349 | 179 | 188 | 177 | 188 | |
Ich danke dir, o Gott, in deinem Throne | 350 | 180 | 229 | 178 | 229 | |
Ich hab' mein' Sach' Gott heimgestellt | 351 | 182 | 19 | 180 | 19 | |
Jesu, der du meine Seele | 352 | 185 | 37 | 192 | 37 | |
Jesu, der du meine Seele | 353 | 186 | 269 | 193 | 269 | |
Jesu, der du meine Seele | 354 | 187 | 368 | 194 | 369 | |
Jesu, der du selbsten wohl | 355 | 189 | 169 | 195 | 169 | |
Jesu, du mein liebstes Leben | 356 | 190 | 243 | 196 | 243 | |
Jesu, Jesu, du bist mein | 357 | 191 | 244 | 197 | 244 | No. 53 in Schemelli |
Jesu, meine Freude | 358 | 195 | 355 | 207 | 356 | |
Jesu meiner Seelen Wonne (melody known as "Werde munter, mein Gemüte") | 359 | 363 | 364 | 372 | 365 | |
Jesu, meiner Freuden Freude (melody known as "Werde munter, mein Gemüte") | 360 | 364 | 349 | 373 | 350 | |
Jesu, meines Herzens Freud' | 361 | 202 | 264 | 208 | 264 | |
Jesu, nun sei gepreiset | 362 | 203 | 252 | 211 | 252 | |
Jesus Christus, unser Heiland | 363 | 206 | 30 | 212 | 30 | |
Jesus Christus, unser Heiland | 364 | 207 | 174 | 213 | 174 | |
Jesus, meine Zuversicht | 365 | 208 | 175 | 215 | 175 | |
Ihr Gestirn', ihr hohlen Lüfte | 366 | 210 | 161 | 183 | 161 | |
In allen meinen Taten | 367 | 211 | 140 | 184 | 140 | |
In dulci jubilo | 368 | 215 | 143 | 188 | 143 | |
Keinen hat Gott verlassen | 369 | 217 | 129 | 216 | 129 | |
Komm, Gott Schöpfer, heiliger Geist | 370 | 218 | 187 | 217 | 187 | |
Kyrie, Gott Vater in Ewigkeit | 371 | 225 | 132 | 222 | 132 | |
Lass, o Herr, dein Ohr sich neigen | 372 | 226 | 218 | 223 | 218 | |
Liebster Jesu, wir sind hier | 373 | 228 | 131 | 226 | 131 | |
Lobet den Herren, denn er ist freundlich | 374 | 232 | 227 | 229 | 227 | |
Lobt Gott, ihr Christen, allzugleich | 375 | 233 | 276 | 232 | 276 | |
Lobt Gott, ihr Christen, allzugleich | 376 | 234 | 341 | 233 | 342 | |
Mach's mit mir, Gott, nach deiner Güt' | 377 | 237 | 44 | 236 | 44 | |
Meine Augen schliess' ich jetzt | 378 | 240 | 258 | 237 | 258 | |
Meinen Jesum lass' ich nicht, Jesus | 379 | 241 | 151 | 247 | 151 | |
Meinen Jesum lass' ich nicht, weil | 380 | 242 | 298 | 246 | 299 | |
Meines Lebens letzte Zeit | 381 | 248 | 345 | 248 | 346 | |
Mit Fried und Freud ich fahr dahin | 382 | 249 | 49 | 251 | 49 | |
Mitten wir im Leben sind | 383 | 252 | 214 | 252 | 214 | |
Nicht so traurig, nicht so sehr | 384 | 253 | 149 | 253 | 149 | |
Nun bitten wir den Heiligen Geist | 385 | 254 | 36 | 256 | 36 | |
Nun danket alle Gott | 386 | 257 | 32 | 259 | 32 | Leuthen Chorale |
Nun freut euch, Gottes Kinder all' | 387 | 260 | 185 | 260 | 185 | |
Nun freut euch, lieben Christen g'mein | 388 | 261 | 183 | 263 | 183 | |
Nun lob, mein Seel, den Herren | 389 | 269 | 268 | 271 | 268 | |
Nun lob, mein Seel, den Herren | 390 | 270 | 295 | 272 | 296 | |
Nun preiset alle Gottes Barmherzigkeit | 391 | 273 | 222 | 273 | 222 | |
Nun ruhen alle Wälder (melody known as "O Welt ich muss dich lassen") | 392 | 298 | 288 | 295 | 289 | |
O Welt, sieh hier dein Leben (melody known as "O Welt, ich muss dich lassen") | 393 | 289 | 275 | 296 | 275 | |
O Welt, sieh hier dein Leben (melody known as "O Welt, ich muss dich lassen") | 394 | 290 | 365 | 297 | 366 | |
O Welt, sieh hier dein Leben | 395 | 291 | 362 | 298 | 363 | |
Nun sich der Tag geendet hat | 396 | 274 | 240 | 274 | 240 | |
O Ewigkeit, du Donnerwort | 397 | 275 | 274 | 276 | 274 | BWV 513 & Notenbüchlein für Anna Magdalena Bach |
O Gott, du frommer Gott | 398 | 277 | 311 | 282 | 312 | BWV 197a Ehre sei Gott in der Höhe ("Ich freue mich in dir") |
O Gott, du frommer Gott | 399 | 282 | 314 | 277 | 315 | |
O Herzensangst, o Bangigkeit | 400 | 284 | 173 | 284 | 173 | |
O Lamm Gottes, unschuldig | 401 | 285 | 165 | 285 | 165 | |
O Mensch, bewein' dein' Sünde gross | 402 | 286 | 201, 305 | 286 | 201, 306 | |
O Mensch, schaue Jesum Christum an | 403 | 287 | 203 | 287 | 203 | |
O Traurigkeit, o Herzeleid | 404 | 288 | 60 | 288 | 57 | |
O wie selig seid ihr doch, ihr Frommen | 405 | 299 | 213 | 299 | 213 | No. 65 in Schemelli |
O wie selig seid ihr doch, ihr Frommen | 406 | 300 | 219 | 300 | 219 | |
O wir armen Sünder | 407 | 301 | 202 | 301 | 202 | |
Schaut, ihr Sünder | 408 | 303 | 171 | 303 | 171 | |
Seelen-Bräutigam | 409 | — | 5a | 306 | 141 | |
Sei gegrüsset, Jesu gütig | 410 | 307 | 172 | 308 | 172 | No. 22 in Schemelli |
Singet dem Herrn ein neues Lied | 411 | 309 | 246 | 310 | 246 | |
So gibst du nun, mein Jesu, gute Nacht | 412 | 310 | 206 | 311 | 206 | No. 26 in Schemelli |
Sollt' ich meinem Gott nicht singen | 413 | 311 | 220 | 312 | 220 | No. 18 in Schemelli |
Uns ist ein Kindlein heut' gebor'n | 414 | 313 | 148 | — | 148 | |
Valet will ich dir geben | 415 | 314 | 24 | 315 | 24 | |
Vater unser im Himmelreich | 416 | 316 | 47 | 319 | 47 | BWV 245 |
Von Gott will ich nicht lassen | 417 | 324 | 363 | 326 | 364 | |
Von Gott will ich nicht lassen | 418 | 325 | 331 | 327 | 332 | |
Von Gott will ich nicht lassen | 419 | 326 | 114 | 328 | 114 | |
Warum betrübst du dich, mein Herz | 420 | 331 | 145 | 332 | 145 | |
Warum betrübst du dich, mein Herz | 421 | 332 | 299 | 333 | 300 | |
Warum sollt' ich mich denn grämen | 422 | 334 | 356 | 335 | 357 | |
Was betrübst du dich, mein Herze | 423 | 336 | 237 | 336 | 237 | |
Was bist du doch, o Seele, so betrübet | 424 | 337 | 193 | 337 | 193 | No. 55 in Schemelli |
Was willst du dich, o meine Seele | 425 | 349 | 241 | 350 | 241 | |
Weltlich Ehr' und zeitlich Gut | 426 | 351 | 211 | 351 | 211 | |
Wenn ich in Angst und Not | 427 | 352 | 147 | 352 | 147 | |
Wenn mein Stündlein vorhanden ist | 428 | 353 | 321 | 355 | 322 | |
Wenn mein Stündlein vorhanden ist | 429 | 354 | 51 | 356 | 52 | |
Wenn mein Stündlein vorhanden ist | 430 | 355 | 350 | 357 | 351 | |
Wenn wir in höchsten Nöten sein | 431 | 358 | 68 | 358 | 68 | |
Wenn wir in höchsten Nöten sein | 432 | 359 | 247 | 359 | 247 | |
Wer Gott vertraut, hat wohl gebaut | 433 | 366 | 135 | 360 | 137 | |
Wer nur den lieben Gott läßt walten | 434 | 367 | 146 | 367 | 146 | |
Wie bist du, Seele, in mir so gar betrübt | 435 | 374 | 242 | 374 | 242 | |
Wie schön leuchtet der Morgenstern | 436 | 375 | 278 | 378 | 278 | |
Wir glauben all' an einen Gott | 437 | 382 | 133 | 382 | 133 | |
Wo Gott zum Haus nicht gibt sein' Gunst | 438 | 389 | 157 | 388 | 157 |
See also
- List of compositions by Johann Sebastian Bach
- List of Bach cantatas (BWV 1–231)
- List of songs and arias of Johann Sebastian Bach (BWV 439–518)
Notes
- ^ At times the key signature in Riemenschneider's does not correspond to the key (such as in the case of no. 19, in G minor but written with a "Dorian" G key signature); this too is presumably reproduced from the Breitkopf edition, which would have followed a common 17th- and 18th-century practice.
References
- Johann Sebastian Bach's Werke (BGA), Bach-Gesellschaft Leipzig, ed. Franz Wüllner, Breitkopf & Härtel, vol 39 (1892) and Schlußband (final volume) (1899).
- Bach – 371 Harmonized Chorales and 69 Chorale Melodies with Figured Bass, ed. Albert Riemenschneider, G. Schirmer, NY, 1941.
- Johann Sebastian Bach, 389 Chorales, Kalmus K06002, Belwin Inc, 15800 NW 48th Ave, Miami, FL 33014
- J.S. Bach, Four-Part Chorales, Editio Musica Budapest, 1982, ed. Imre Sulyok
- "Other Vocal Works sorted Thematically", Department of Computing Science, University of Alberta
- "Index to Texts and Translations of Bach Cantatas and Other Vocal Works – Part 7: Chorales BWV 250–438"
External links
- Thomas Braatz: "The History of the Breitkopf Collection of J. S. Bach's Four-Part Chorales", September 2006; retrieved 21 May 2009.
- Scores in Capella format Template:De icon Template:En icon Template:Ru icon
- Free scores by Chorale harmonisations by Johann Sebastian Bach at the International Music Score Library Project (IMSLP)