Passiontide Devotional Chorales, Other Weiße Hymns

Passiontide Devotional Chorales, Other Weiße Hymns

William L. Hoffman wrote (February 20, 2018):L
A group of now lesser-known Reformation Death and Dying hymns appropriate for Lenten Passiontide and developed by the Bohemian Brethren and Martyrs was not only influential in the genesis of Lutheran hymns but also impacted Bach with its beginnings as vernacular devotional, pietist sacred songs, often derived from ancient Latin chants and compiled and published in 1531 by Michael Weiße. This genre gained considerable impetus in the mid-1600s poetic settings of Paul Gerhardt, often using familiar melodies, culminating in the omnibus publication of the Schmelli Gesangbuch of 1636 in which Bach secured 69 texts and associated melodies primarily from pietist hymnbooks such as Freylinghausen 1704. Further, some of the more established chorales Bach set are found in the current Evangelical Lutheran Worship (Minneapolis MN: Augsburg Fortress, 2006) under the rubric "Time after Epiphany," preceding the Lent section. They are Philipp Niccolai's 1597 "Wie schön leuchtet der Morgenstern" (How beautifully shines the morning star), set as a chorale Cantata for the feast of Annunciation, 25 March 1725, the 40th and final such work in the second cycle; Elisabeth Kreutziger's 1524 Herr Christ, der einig Gotts Sohn" (Lord Jesus Christ, the only Son of God); and Paul Gerhardt's 1670 Trust Hymn, "Gib dich zufrieden und sei stille (Be thou content and still).

Another hymn for the Time After Epiphany is Leonhart Schröter's "Freut euch, ihr lieben Christen (Rejoice, dear Christians, http://209.68.37.137/text-freut-euch-ihr-lieben-christen), now known as "Hail to the Lord's anointed" (http://www.lutheran-hymnal.com/lyrics/tlh059.htm) for the First Sunday in Lent Gospel reading, Jesus in the wilderness encountering evil. This hymn follows a tradition which began with Martin Luther's 1523 Advent ballad on Christological incarnation, "Nun freut euch lieben Christen g’mein" (Dear Christians, one and all rejoice, http://209.68.37.137/text-nun-freut-euch-lieben-christen-gmein). It spawned other settings of Johann Walther (1524), Lucan Osiander (1586), Michael Preatorius (1605), and Christian Keymann's pre-pietist 1645 Jesus Song, "Freuet euch, ihr Christen alle!" (http://www.bach-cantatas.com/Texts/Chorale058-Eng3.htm). The sentiments related to Christ's incarnation as found in pietist Jesus Hymns originated with Weiße's texts particularly for the closed, devotional periods of Advent and Lent, emphasizing fasting, penitence, and sacrifice while soon after, theologically addressing Lutheran teachings in the body of hymns, "Christian Life and Conduct." Bach also set Weiße' chorales for other church year services, primarily omnes tempore thematic devotional hymns.

Three chorales for Quinquagesima Estomihi in Bach's Das neu Leipziger Gesangbuch (NLGB) of 1682 are much less known but reveal Bach's intrinsic interests in early Reformation hymns for Passiontide (Lent), of the Bohemian Brethren hymn writer Weiße (1480-1534).¹ The Estomihi NLGB Hymn of the Day was the popular Lazarus Spengler 1524 Catechism Justification (NLGB No. 229) "Durch Adams Fall ist ganz verderbt / Menschlich Natur und Wesen" (Through Adam’s fall human nature / and character is completely corrupted) as the hymn of the day, formerly published as ‘Ein geistlich Lied vom Fall und Erlosung des menschlichen Geschlechts’ (‘a sacred song concerning the fall and redemption of the human race’).² The other designated Estomihi chorales for sermon or communion are from Weiße's major 1531 hymnbook, involving Passion hymns "Die Propheten han geprophezeit" (The prophets have prophesied, NLGB 63)³ and "Sündiger Mensch, schau wer du bist" (Sinful man, know who you are, NLGB 66), as well as the Hermann Bonnus "O wir armen Sünder" (O we poor sinners, NLGB 68) — all three set to well-known melodies which Bach harmonized. The best-known Weiße hymn is the Passion song, "Christus, der uns Selig macht," in various Bach Passion settings.

"Erhalt uns, Herr, bei deinem Wort"

Weiße set "Die Propheten han geprophezeit" to the popular, iconic Luther melody "Erhalt uns, Herr, bei deinem Wort" Preserve us, Lord, with your word), which was used in many new texts. With 11 four-line stanzas, "Die Propheten" is found in the NLGB for Estomihi (Lent, Jesus Christ Suffering & Death, and No. 63 (https://books.google.com/books?id=UmVkAAAAcAAJ&pg=PA125#v=onepage&q&f=false, scroll down. The melody "Erhalt uns, Herr" (Zahn 316, based on Zahn 350a), is found in the NLGB 305 under the rubric "Word of God & Christian Church" http://www.bach-cantatas.com/CM/Erhalt-uns-Herr.htm.⁴ "Erhalt uns, Herr" is one of four early Lutheran chorales based on the plainsong melody associated with the Ambrosian hymn, Veni redemptor genitum, observes Robin A. Leaver.⁵ The other three are Luther's 1524 “Nun komm, der Heiden Heiland” (Now come the gentile's saviour, Zahn melody 1174), and Luther's 1529 "Verleih uns Frieden gnädiglich” (Graciously grant us peace, Zahn melody 1945a) and Johann Walther's 1560 "Gib unsern Fürsten und all'r Obrigkeit” (Grant to our princes and those in authority, Zahn melody 1945b), the last two based upon the antiphon Da pacem Domine. "Verlieh uns Frieden" and "Gib unsern Fürsten" in the same form and with similar melodies were attached as Stanzas 6 and 7 of "Erhalt, uns, Herr" and published by Walther in 1566. While Bach made no setting of "Die Propheten han geprophezeit," it is possible to set the text to its melody, "Erhalt uns, Herr, bei deinem Wort," as found in Bach's harmonizations, chorale Cantata BWV 126/6 (http://www.bach-chorales.com/BWV0126_6.htm), BWV 6/6 (http://www.bach-chorales.com/BWV0006_6.htm), music https://www.youtube.com/watch?v=XLPXUQnqjzU), and BWV 42/7 (music, https://www.youtube.com/watch?v=XLPXUQnqjzU, BWV 6/6, 42/7, 126/1,3,6, 1103, Anh. 50, deest).

Sündiger Mensch, schau wer du bist

The Luther hymns "Verleih uns Frieden" and "Erhalt uns, Herr" have a very close resemblance in the first two lines, thus the melody "Erhalt uns Herr" is listed in the NLGB for "Sündiger Mensch" while all three Passion hymns in the NLGB fell out of use soon after while many Weiße original hymns survived and were translated into English https://hymnary.org/person/Weisse_M) and are still sung today. Weiße also wrote the 12-stanza Redemption hymn, "Vom Adam her so lange Zeit / war unser Fleisch vermalebeit" (Time for Adam from Adam Was our flesh's misery), based on the Latin Veni redemptor genitum and using the Luther melody "Vom Himmel hoch da kam ich her." and later published in the Valentin Baptst hymnbook ( Leipzig 1545). "The first hymnal of the Brethren in German in 1731 contained 157 hymns, 137 written or adapted by Weiße, on melodies mostly from the Bohemian tradition of the Brethren," says Wikipedia (https://en.wikipedia.org/wiki/Michael_Weiße). "Then the most extensive Protestant hymnal, it influenced other collections. It was the first hymnal structured by topics, eight sections for times of the liturgical year."

Weiße wrote "Sündiger Mensch, schau wer du bist" (Sinful man, know who you are, NLGB 66 (text, https://books.google.com/books?id=UmVkAAAAcAAJ&pg=PA129#v=onepage&q&f=false), based on 16:26 (https://www.biblegateway.com/passage/?search=Matthew+16%3A26&version=KJV) and set to the popular melody "Christe, der du bist Tag und Licht" (Christ, you are the day and light), “Christe, der du bist Tag und Licht" (Christ, you are the day and light) is a Luther Catechism evening song composed in 1526 to the early Latin hymn Christe qui lux es et dies with the associated melody (Zahn 343). The text was published in Wittenberg in 1525 (seven-stanzas, EG 469, EKG 354), attributed to Wolfgang Mueslin (1526) and published in Joseph Klug's Geistliche Lieder, 1543. The English hymn version is “O Christ, who art the light and day.” This hymn, "Christe, der du bist Tag und Licht” is found in the NLGB No. 205 (based on Psalm 4, Hear me when I call, O God, KJV), Catechism Evening Song, which also is a Passion hymn, attributed to Martin Luther (1529), published in Wittenberg 1533 and Valentin Bapst (1545). It is found in the Schemelli as No. 430. Bach set this hymn as a liturgical plain chorale, BWV 274 in g minor (http://www.bach-chorales.com/BWV0274.htm, https://www.youtube.com/watch?v=LTtf_6XNGXM). It is found in English as "O Christ, you are the light and Day," Evening hymn No. 274 in the Lutheran Book of Worship (Minnaepolis MN: Augsburgh Publiasing 1978).

O wir armen Sünder

"O wir armen Sünder" (O we poor sinners), is based on Luther's 1528 Litany refrain still in use today, "Wir armen Sünder bitten, du wollst uns erhören, lieber Herre Gott" (We poor sinners pray that you may be willing to hear us, dear Lord God), http://www.bach-cantatas.com/Texts/Chorale064-Eng3.htm. The Hermann Bonnus Passion hymn with the Kyrie refrain in six four-line irregular stanzas (Salzburg 1532)⁶ is based upon the Lucas Lossius c.1530 "O du armer Judas" (O you wretched Judas) in Psalmodia (Lüneburg 1561) with the associated anonymous melody (Königsberg 1527), "Ach, wir armen Menschen," dating to c1350, Rex Christe Factor omnium (O Christ, Our King, Creator, Lord, Zahn 314b), found in the NLGB No. 64 for Passiontide. "O wir armen Sünder" is found in the NLGB as No. 68, Passiontide (Zahn 8187) with music (https://books.google.com/books?id=UmVkAAAAcAAJ&pg=PA138#v=onepage&q&f=false). Bach set the hymn as a plain chorale, BWV 407 (http://www.bach-chorales.com/BWV0407.htm), as well as the melody also identified as "Ehre sei dir, Christe, der du leidest Not" (Honour to you, Christ, you who suffered distress, Laus tibi, Christe qui pateris), the last stanza of "O wir armen Sünder," first published in Cyriacus Spangenberg's Christlichs Gesangbuch (1568, https://hymnary.org/text/ehre_sei_dir_christe_der_du_littest_not, which includes his melody for "Christe, du bist der helle Tag" (EG 469). "Christe, du bist der helle Tag" is found in the Neumeister organ chorale prelude, BWV 1097 (music https://www.youtube.com/watch?v=QFEX2IpVvJc), and is set in the Orgelbüchlein as No. 5, BWV 603, for Advent with the alternate incipit, “Puer natus in Bethlehem” (Zahn 192b, https://www.youtube.com/watch?v=TzYYHWN4cpw) and OB 31 as "O wir armen Sünder" for Passiontide but not set.

"Christus, der uns Selig macht"

"Christus, der uns Selig macht" is Bach's most-often set of Michael Weiße's hymns, for Palm Sunday to Good Friday. It is based on Eigido of Colonna's Patris sapientia, veritas divina (Christ, divine truth, 14th century, Good Friday canonical hours, https://translate.google.com/translate?hl=en&sl=fr&u=http://livreheurestraduit.pagesperso-orange.fr/Notes/28.Hymne.htm&prev=search). Weiße originally published "Christus, der uns Selig macht" for Lent/Palm Sunday as a continuation of his 22-stanza hymn, "Christus wahrer Gottes Sohn, auf Erden Leibhaftig" (Christ truly God's Son, from earth personified), "which describes Christ's life until the Passion, although separate from it," says Mark S. Bighley.⁷ "The various canonical hours are evident in Stanzas 1-7," from Lauds/Matins to Compline, closing with verse eight, "O hilf, Christe! Gottes sohn." It is found in the NLGB as No. 71-I, Passiontide (Zahn melody 6283b) with music (https://books.google.com/books?id=UmVkAAAAcAAJ&pg=PA148#v=onepage&q&f=false. The text is found in the Schmelli Gesangbuch (Leipzig 1536) on pages 167f under the rubric Good Friday.

Bach used "Christus, der uns Selig macht" as four plain chorale Passion settings and the melody in chorale prelude collections, Orgelbüchlein, BWV 620(a) for Passiontide, https://www.youtube.com/watch?v=IM7HpABAUac), says Peter Williams,⁹ and questionable settings, BWV 747, and deest Emans 46 (https://www.youtube.com/watch?v=8pcEtkUSSWg). Plain chorale settings appear twice in the St. John Passion (SJP), at the beginning and end of the extended trial before Pilate, opening Part 2, beginning in E Major (no. 15, http://www.bach-chorales.com/BWV0245_15.htm, ) and ending in F Major (no. 37, http://www.bach-chorales.com/BWV0245_37.htm), using the first and last stanza, "O hilf Christe! Gottes Sohn."

Bach's chorale usage in the SJP generally emphasizes the Christus Victor concept of atonement, notably in the multiple uses of "Christus, der uns Selig macht," as well as the signature chorale, three times (nos.14, 15a, 32), Paul Stockmann’s "Jesu Leiden, Pein und Tod" (Vulpius melody “Jesu Kreuz, Leiden und Pein), and “Herzleibster Jesu” twice, (3 and 17). Bach also set the Phrygian hymn in two other plain chorale Passion contexts: in E Major, BWV 283, http://www.bach-chorales.com/BWV0245_37.htm, possibly in the 1717 Weimar/Gotha Passion oratorio, catalogued as Bach Compendium BC D 1/6=F 31.1, and as BWV 1084 in D Major (http://www.bach-chorales.com/BWV1084.htm, in the c1747 St. Mark Passion pasticcio (BNB I/K/2), No. 14, in the same place as BWV 245/37, the end of Jesus' trial before Pilate.¹⁰

Weiße's Grave Song, Bach's Setting

"Nun lasst uns den Leib graben" (We lay this body in the grave) is an eight 4-line stanza hymn of death and the grave, set to the related melody. It was originally attributed to Luther but in his preface to the 1545 Bapst Hymnal, he cited Weiße as the author (Stanzas 1-7, added Stanza 8, "So help us, Jesus, ground of faith" attributed to Luther, 1540), "for the burial of the dead."¹¹ Previously, Luther had written the Preface to the Burial Hymns in the Joseph Klug Gesangbuch (Wittenberg, 1542), saying that "We lay this body in the grave" and other German hymns "may be sung alternately on returning home from the internment" (Ibid.: 331). Weiße in 1531 translated into German the original Czech hymn by Luke of Prague (https://en.wikipedia.org/wiki/Luke_of_Prague) in 4 stanzas, published in the lost Brethren Hymn Book of 1519, possible Latin source Aurelius Clemens Prudentius, says John Julian (https://hymnary.org/text/nun_lasst_uns_den_leib_begraben), textual basis 1 Cor. 15:42-57 (https://www.biblegateway.com/passage/?search=1+Corinthians+15%3A42-57&version=KJV

"Nun lasst uns den Leib graben" is found in the eschatological section of the NLGB as No. 361, eight-stanza text, with music (Zahn melody 352), Death & Dying (https://books.google.com/books?id=UmVkAAAAcAAJ&pg=PA926#v=onepage&q&f=false. Bach listed it in his Orgelbüchlein as No. 111, Death & Dying (melody source http://www.orgelbuechlein.co.uk/wp-content/uploads/2011/12/Nun-lasst-uns-den-Leib-begraben.pdf), but not set. It was set as an organ chorale prelude in the Neumeister Collection, BWV 1111 (https://www.youtube.com/watch?v=-i-RrOf3oCA, https://www.youtube.com/watch?v=1TZm7XJQKwQ.

The Bapst Hymnal melody (Zahn 352), is cited by Peter Williams in his discussion of BWV 1111 (Ibid.: 564f). "The music is distinguished by much melodic flair and could be the work of J. M. [Johann Michael] Bach, though details both formal (the unpredictability [of the fugal treatment]) and figural" "conform with other settings attributed to Bach." In 1736, the hymn was [published in the Schemelli Gesangbuch (p.605f), Death Songs) where all eight stanzas have an answer/response for alternatim singing with similar length by an anonymous author, setting also found in other hymnals (Wackernagel III: 333, ELG 658), says Bighley (Ibid.: 305). A two-part setting of the hymn also is found in Sebastian Bach’s Choral Buch c.1740+, pp. 245.

There are two 19th century versions of Weiße's hymn by Schubert and Brahms. Schubert in 1815 set a vocal quartet with piano accompaniment as a burial song, "Begrabt den Leib in seiner Gruft," D. 168, Friedrich Klopstock texy (https://www.youtube.com/watch?v=WyQ8i0g7sB4). Brahms set Weiße's Stanzas 1-7 as the Begräbnisgesang (Funeral Hymn), Op. 13 (1858) for chorus and orchestra and it is a forerunner of his German Requiem (https://www.carusmedia.com/images-intern/medien/40/4018100/4018100x.pdf, https://www.youtube.com/watch?v=Y12hjGmUQWc).

Catherine Winkworth published her setting as "Now lay we calmly in the grave," in her Lyra Germanica II 1858. "This body in the grave we lay" is found in the current Lutheran Service Book (St. Louis MO: Concordia Publishing, 2006) as No. 759, Hope and Comfort, melody only. The BWV 1111 setting and The Lutheran Hymnal (1940) setting are recorded at https://www.youtube.com/watch?v=1-n-Uvl0-zw, https://www.youtube.com/watch?v=3XNlCNGfi0o, with full text Stanzas 1-8 http://www.lutheranchoralebook.com/texts/this-body-in-the-grave-we-lay/).

Weiße Advent Hymn Bach settings

Six of Michael Weiße's 1531 published hymns were set selectively by Bach as plain chorales for liturgical uses dealing with Christological topics during the church year, most notably the other closed time of penitence and fasting in Leipzig, the 2nd to 4th Sundays in Advent. Weisse, a member of the Bohemian Brethern and Martyrs, who published their hymnal in 1531, and expanded in 1544, edited by Johann Horn (Roh) , including various Advent or Advent-related chorales later found in Bach’s Leipzig creative chorale template, the NLGB. Their first settings of vernacular hymns, often using Latin chants, began with their first publication in 1501, predating Luther's hymnbooks in 1523 (http://www.christianitytoday.com/history/issues/issue-1/moravians-and-their-hymns.html\), from which Weiße borrowed melodies set to new texts which show a sense of pre-pietist devotion, which was expanded by Paul Garhardt in the mid 1600s and later in the Schmelli Gesangbuch of 1736, in which Bach published 69 mostly newer texts to music, BWV 439-507 (https://en.wikipedia.org/wiki/List_of_songs_and_arias_by_Johann_Sebastian_Bach. Bach composed chorale settings of Michael Weisse Advent-related texts set to various melodies (source, http://www.bach-cantatas.com/LCY/M&C-Advent.htm):

No. 1. NLGB No. 4, “Von Adam her so lange Zeit” (From Adam time is so long), 1544 12-stanza text (numerous biblical references); melody not listed in NLGB, alternate melodies: Luther “Von Himmel hoch da kam ich her” (From heaven on high I come to you (Zahn 346, NLGB No. 12, Christmas), or Luther’s “Erhalt uns, Herr, bei deinem Wort,” NLGB No. 305, “God’s Word & Christian Church.” It also is designated but unset Orgelbüchlein organ chorale No. 122, God’s Holy Word (Word of God & Christian Church). Text: http://www.hymnary.org/text/von_adam_her_so_lange_zeit, 3 Page Scans (12 stanza text, Advent & Christmas Songs, biblical references);

No. 2. NLGB No. 5, “Gottes Sohn ist kommen” (God’s Son is coming), 9 stanzas, Zahn melody 3294 also is set to the text “Menschenkind merk eben” (NLGB No. 6) and the alternate text, “Gott, durch deine Güte” (no NLGB, Johann Spangenberg 1544, three Trintarian stanzas for Advent (after the sermon), C. S. Terry English Translation. ¹² <<In the Orgelbüchlein [OB No. 2, BWV 600, https://www.youtube.com/watch?v=Lecc3wIMkOU] Bach attaches the titles of two hymns, Johann Roh’s “Gottes Sohn is kommen,” and Johann Spangenberg’s “Gott, durch deine Güte,” to a tune that originally belonged to neither of them, being that of the Latin hymn, Ave ierarchia Celestis et pia. Its earliest printed form is in Michael Weisse’s Ein Neu Gesengbuchlen (Jung Bunzlau, 1531), where it is set to Weisse’s hymn, “Menschenkind, merk eben.” In 1544, simultaneously but in different Hymn-books, Roh [Horn] and Spangenberg appropriated the tune to their respective hymns. “Johann Roh’s Christmas hymn, “Gottes Sohn ist kommen,” first appeared in the second German Hymn-book of the Bohemian Brethren (Ein Gesangbuch der Brüder inn Behemen und Merherrn), published at Nürnberg in 1544, with the tune (supra).” “Johann Spangenberg’s hymn (Gott, durch deine Güte) appears first among his Alte und Newe Geistliche Lieder und Lobgesenge, von der Geburt Christi unsers Herrn, Für die Junge Christen (Erfurt, 1544), with the melody. The hymn, accordingly, has Advent associations, though it is addressed to the Three Persons of the Trinity and directed to be sung after the Sermon.>>.

"The melody is the proper "Menschen, merk eben," later renamed for its association with the more successful hymn "Gottes Sohn ist kommen" [Zahn melody 3294],” says Matthew Carver, Hymnglyph, “a text (by Johann Roh) which did not appear until 1544. It was an adaptation by Michael Weisse of an ancient 12th century melody and was used for the first appearance of his hymn in his Bohemian Brethren Hymnal of 1531, where it is called "Ave Hierarchia." The full German texts of “Gottes Sohn ist kommen” and “Menschenkind merk eben,” side by side is found at Wikipedia, with biblical references: http://de.wikipedia.org/wiki/Gottes_Sohn_ist_kommen, scroll down to Text. "Gottes Sohn ist kommen is set as a plain chorale, BWV 318 (http://www.bach-chorales.com/BWV0318.htm, https://www.youtube.com/watch?v=0z84AeBbboA.

No. 3. NLGB No. 6, “Menschenkind merk eben” (Here, o mortal being), 15 stanzas, the text of this appointed hymn for the Ninth Sunday after was not set by Bach. Catherine Winkworth’s English translation of” "Gottes Sohn ist kommen" (“Once He came in blessing),” Stanzas 1, 2, 3, 5, and 9, is found in C. S. Terry’s Bach’s Chorals. Part II (Ibid.). Bach’s settings of the Advent hymns “Gott, durch deine Güte/Gottes Sohn ist kommen” involve three as organ chorale preludes, Orgelbüchlein, BWV 600; Kirnberger Chorale, BWV 703 (https://www.youtube.com/watch?v=0z84AeBbboA), and Miscellaneous Chorale, BWV 724 (https://www.youtube.com/watch?v=c5KwjkIOqnE), as well as plain chorale BWV 318, and Sebastian Bach Choral-Book, SBCB6 (CM & b.c.(Zahn 3294).
+Sequence NLGB No. 7b, “Als der gütige Gott vollenden wollt” (When God, with gracious love) in seven 5-line (AABBC) repeated stanzas, NLGB No. 7a, is based on the 12-stanza Latin hymn, Mittit ad Virginem / Non quemvis Angelum; vernacular revision of Peter Abelard’s “Mittit ad Virginem,” Zahn melody1645; “for Advent by, i.a., Geistliche Psalmen … (Nürnberg), also appropriate (indeed, proper) for Annunciation,” says Matthew Carver, with full texts in German and English translation with Latin text, found on-line at “Hymnoglyph”: http://matthaeusglyptes.blogspot.com/search/label/Advent%20I). The alternate melody is found in plain chorale, BWV 264 is "Alles ist an Gottes Segen," by Johann Crüger (1640) (Zahn 1646, http://www.bach-chorales.com/BWV0264.htm, https://www.youtube.com/watch?v=kziokkVS7-U).
+No NLGB listing is found for “Lob sei dem allmächtigen Gott“ (Praise be to that Almighty God), 13 stanzas (14 original), 4 lines each, with closing Doxology, 1531, Ein New Gesengbuchlen (Jung Bunzlau, 1531,) Bohemian Bretheran (first printing, Weisse editor), and Valentin Babst's Gesangbuch (Leipzig 1545). John Gambold English translation of Stanzas 1-3, 5-10, 14 from the Moravian Hymn Book, 1754, are found in Terry (Ibid.). The melody (1531) from Creator alme siderum (Bright builder of the heavenly poles), text and translation, http://www.preces-latinae.org/thesaurus/Hymni/CreatorAlme.htm. The hymn is known today as Creator of the stars of night), Vespers hymn for Advent 1 in Liber Usualis chant book (1724: 252) (Phrygian mode), Bach’s source unknown. Alternate melody (Christmas) is “Vom Himmel hoch da komm ich her“ (Witt, Gotha Hymnal 1715). Bach set the Advent melody only in two early organ chorale preludes: BWB 602 (OB3) phrygian F Major 4/4, (c1712-13, https://www.youtube.com/watch?v=jGUIB2YZb1Y), and the Kirnberger Chorales, BWV 704, in phrygian F Major 3/2 Fughetta (manualieter), c1700-08 (https://www.youtube.com/watch?v=8kwWP3t-I7M).

Bach Other Weiße Settings

Bach set four other plain chorales for the rest of the church year, primarily omnes tempore thematic devotional hymns to texts of Weiße published in 1531:

"Christus ist erstanden, hat überwunden" (Christ has arisen, has overcome) is an Easter hymn in 13 eight-line stanzas (ABABCCDD) with its associated melody (Zahn 8584) derived from the c.1090 antipphon Surgit in hac dies (Wackernagel II: 948).¹³ It is found in the NLGB as No. 105 (Easter). Bach set it as a plain chorale, BWV 284 (http://www.bach-chorales.com/BWV0284.htm, https://www.youtube.com/watch?v=0TxR4Grc8ag). It was suggested by the older Luther/Walther hymn, the third stanza of the Luther/Walther hymn, "Christ ist erstanden," "Alleluja! Alleluja! Alleluja! / Des soll'n wir alle froh sein" (For this we should all be joyful), with the closing Leise refrain, "Kyrie eleis" (Lord, have mercy), set as a plain chorale (no 6) in dorian f-sharp minor (http://www.bach-chorales.com/BWV0066_6.htm, https://www.youtube.com/watch?v=n9vA2SaSViY), closes the Easter Monday 1724 Cantata 66, "Erfreut euch, ihr Herzen" (Rejoice, you hearts, http://www.bach-cantatas.com/Texts/BWV66-Eng3.htm). This hymn was published in the Joseph Klug Gesangbuch (Wittenberg 1533, http://www.bach-cantatas.com/Texts/Chorale090-Eng3.htm, http://www.bach-cantatas.com/CM/Christ-ist-erstanden.htm, http://www.bach-cantatas.com/BWV66-D4.htm).

"Den Vater dort oben" (The Father up there) in five 7-line stanzas, set to the 1531 associated melody, was published again in the Moravian Hymnbook of 1554. It is used as an omnes tempore Communion hymn and Grace after Meals (Wackernagel iii: 321).¹⁴ It is found in the 1682 NLGB with music (Zahn 7495), No. 225 Catechism Thanksgiving (https://books.google.com/books?id=UmVkAAAAcAAJ&pg=PA600#v=onepage&q&f=false, and is known in English as "Father, Lord of mercy," by John Christian Jacobi, 1722. Bach set it as a plain chorale, BWV 292 in C Major (http://www.bach-chorales.com/BWV0292.htm, https://www.youtube.com/watch?v=IqLIj4KVVTg). Stanzas 1, 3, and 5 are translated in Terry's Four-Part Chorales of J. S. Bach (London: Oxford University Press, 1929, No. 63; Bach Digital, https://www.bach-digital.de/receive/BachDigitalWork_work_00000362?XSL.Style=detail), and in the Helmut Rilling Edition Bachakademie Vol. 83, A Book of Chorale-Settings for Thanks & Praise (http://www.bach-cantatas.com/Vocal/BWV250-438-Rilling.htm, English translation, Stanza 1: "The father high above / We will praise now, / Who has kindly fed us / in his divine mildness, / And Christ, his son, / Through whom blessing come / From the highest throne."


“Welticher Ehr und zeitlicher Gut" (Wordly glory and timely good) in 10 seven-line stanzas with the associated melody in 1731 and designated as a Catechism song which was published in the Bapst Gesangbuch, Vol. 2 (Leipzig 1745: No. 22) in NLGB with music (Zahn 4977-5), No. 240 (Christian Life & Conduct, https://books.google.com/books?id=UmVkAAAAcAAJ&pg=PA642#v=onepage&q&f=false), and as a pulpit and communion hymn for the omnes tempore First and Ninth Sundays after Trinity.¹⁵ The 1531 text uses the melody of Valentin Triller, based on the Latin, Cedit hiems eminius (Be gone, winter; Prudentis (348-c.1410) morning hymn, https://www.youtube.com/watch?v=BCImrnKqx9o) and published in the Melchior Vulpius Vögelin Gesangbuch of 1563. Bach listed the hymn in the Orgelbüchlein as No. 92, Christian life and conduct, perhaps using the Gotha 1715 hymnal (http://www.orgelbuechlein.co.uk/wp-content/uploads/2011/12/Witt-531-Weltlich-Ehr-und-zeitlich-gut.pdf). Bach set the hymn as a plain chorale in C Major, BWV 426 (http://www.bach-chorales.com/BWV0426.htm, https://www.youtube.com/watch?v=R7PMi11ZajY). Stanzas 1, 7, and 8 translated in Terry's Four-Part Chorales of J. S. Bach (Ibid.: No.366) and the first stanza is translated in Rilling (Vol. 83, ibid.): "Worldly honour and temporal goods: Luxury and wantonness / and simply like grass; / Splendour and vain glory all / wither like a meadow flower; O man, mark these words / and take due caution."

"Es wird schier der letzte Tag herkommen" (The last day will come soon) is an eschatological hymn in 20 four-line stanzas set to the melody (Zahn 1423), “Ach Gott man mag wohl in diesen Tagen” (Advent II, etc.; source Felici peccatrici). It is found in the NLGB No. 393, “Last Days, Resurrection of the Dead, Eternal Life,” with music (https://books.google.com/books?id=UmVkAAAAcAAJ&pg=PA1002#v=onepage&q&f=false), for the final 25th and 26th Sundays after Trinity) The first stanza, based on Matthew 24:3 (What shall be the sign of thy coming and of the end of the world?, KJV), is: “Es wird schier der letzte Tag herkommen / denn die Bosheit hat sehr zugenommen, / was Christus hat vorgesagt, das wird jetzt beklagt.” (Lo, the final day is fast approaching, / Sin increasing, wickedness encroaching: / Now with grieving we behold / What the Christ foretold." Bach set this as a plain chorale in E Major, BWV 310 (http://www.bach-chorales.com/BWV0310.htm, https://www.youtube.com/watch?v=mmMAnFEZAaQ.

FOOTNOTES

¹ Michael Weiße biographies, http://www.bach-cantatas.com/Lib/Weisse-Michael.htm, http://www.moravianchurcharchives.org/thismonth/09%20march%20Michael%20Weisse.pdf; hymns, https://hymnary.org/person/Weisse_M?sort=asc&order=Texts+by+Michael+Weisse+%28153%29; hymns in English https://books.google.com/books?id=y7cuvWSXOOQC&pg=PA32&lpg=PA32&dq=Michael+Weisse+Ein+Neu+Gesangbuchlein&source=bl&ots=028t3vm7XM&sig=3b-xilxAU9-zUBoTnYRS8OItmEA&hl=en&sa=X&ved=0ahUKEwjTpLjEi6LZAhUX9WMKHRvtCLwQ6AEIVTAH#v=onepage&q=Michael%20Weisse%20Ein%20Neu%20Gesangbuchlein&f=false.
² "Durch Adams fall," German text and Francis Browne English translation, http://www.bach-cantatas.com/Texts/Chorale045-Eng3.htm; melody (Zahn 7549) information, Bach uses, http://www.bach-cantatas.com/CM/Durch-Adams-Fall.htm. In the NLGB it also is a designated hymn for the Sundays after Trinity, 6, 9, and 12.
³ Ein New Gesengbuchlein (Jungbunzlau 1531); Section VIII, "Vom Leiden und Tod Christi," beginning ,"Die Propheten han geprophezeit," page 53. https://books.google.com/books?id=guUUYClAaucC&printsec=frontcover&dq=Michael+Weiße&hl=en&sa=X&ved=0ahUKEwiXpOTRy6PZAhVU7GMKHa4VBhAQ6AEILzAB#v=onepage&q=Michael%20Weiße&f=false
⁴ "Erhalt uns, Herr, bei deinem Wort," German text and Francis Browne English translation, http://www.bach-cantatas.com/Texts/Chorale142-Eng3.htm; Walther (1496-1570) biography, http://www.bach-cantatas.com/Lib/Walter-Johann.htm.
⁵ Robin A. Leaver, Example 13.2, Melodies Created from the Veni redemptor genitum, Luther's Liturgical Music: Principles and Implications (Grand Rapids MI: Eerdmanns Publishing, 2007: 201), https://books.google.com/books?id=p742DgAAQBAJ&pg=PA200&lpg=PA200&dq=robin+leaver+luther%27s+veni+redemptor&source=bl&ots=qrLwHbSCVj&sig=ZToXT_rHrbNKQOACH4_b3hYa1cs&hl=en&sa=X&ved=0ahUKEwjq6drk8qHZAhVJ2mMKHdrtB8UQ6AEILDAA#v=onepage&q=robin%20leaver%20luther's%20veni%20redemptor&f=false.
⁶ Hermann Bonnus (c.1504-1538), https://hymnary.org/person/Bonn_H1; German text with music and Matthew Carver English translation, http://matthaeusglyptes.blogspot.com/2010/02/o-wir-armen-sunder.html; Spangberg (1528-1604), http://www.bach-cantatas.com/Lib/Spangenberg-Cyriakus.htm; "Christe, du bist der helle Tag," http://bach-cantatas.com/Topics/Chorale-Devotion.htm.
⁷ Mark S. Bighley, The Lutheran Chorales in the Organ Works of J. S. Bach (St. Louis MO: Concordia Publishing, 1985: 58); details, see https://books.google.com/books?id=HEQrDwAAQBAJ&pg=PA136&lpg=PA136&dq=%22Christus+wahrer+Gottessohn,+auf+Erden+Leibhaftig%22&source=bl&ots=NTnL9Nw9fh&sig=iIT0fzhvevwgI0xxzf-d7W-eGRE&hl=en&sa=X&ved=0ahUKEwiMubrRsKbZAhVRImMKHQOyAnAQ6AEIKzAA#v=onepage&q=%22Christus%20wahrer%20Gottessohn%2C%20auf%20Erden%20Leibhaftig%22&f=false.
⁸ "Christus, der uns Selig macht," German text and Matthew Carver English translation, http://matthaeusglyptes.blogspot.com/2010/03/christus-der-uns-selig-macht.html.
⁹ Peter Williams, The Organ Music of J. S. Bach, 2nd ed. (Cambridge University Press, 2003: 275), https://books.google.com/books?id=gTXxUk1LAowC&pg=PA275&lpg=PA275&dq=Patris+sapientia,+veritas+divina&source=bl&ots=yaY2QC8h7r&sig=LR-ZtCMzJMoKn71dQcbHzezv-rU&hl=en&sa=X&ved=0ahUKEwi-0cWjqabZAhUBImMKHU3WCecQ6AEIVTAF#v=onepage&q=Patris%20sapientia%2C%20veritas%20divina&f=false.
¹⁰ St. Mark Passion Pasticcio,

Peter Smaill wrote (February 20, 2018):
[To William L. Hoffman] Several will be aware that the one surviving hymnbook from Bach's library is the Michael Weisse production for the Bohemian Brotherhood; it resides in the Euing collection in Glasgow University, who kindly lent it for the 2011 Bach Network dialogue meeting in Edinburgh. Here is Reinhard Strohm's analysis of its significance for Bach: https://www.bachnetwork.org/ub6/Strohm%20UB6.pdf

There being no Ash Wednesday in Lutheranism, Quinquagesima was the prime day of preparation for Lent; Bach responds with some of his greatest Cantatas: BWV 22, 23,159 and 127.

My recent thoughts on Quinquagesima relate to the often very indirect nature of the allusion in the Cantatas to the Gospel of the day, the story of the begging blind man. Perhaps the agitated finale verse of BWV 23 depicts his liberation? In BWV 127, "Herr Jesu Christ, wahr' Mensch und Gott" there is indeed the assertion of the pof Faith which is part of the scripture. But the gloss on the chorale text, which forms the libretto of the inner movements, admits of no explicit reference to the beggar/blind man.

There is, however, also the hidden chorale in the opening chorus, the German Agnus Dei, , "Christe, du Lamm Gottes" ; and we know from a contemporary source (Christian Gerber) that beggars in Saxony would bellow out the Agnus Dei so as to receive alms.

Is there a connection, a cultural reference in a melody associated in Bach's time with beggars, but not an affect that is understandable in our time?

Alas not (my interim conclusion); the version of the Agnus Dei beggars favoured was the alternate versification, " O Lamm Gottes unschuldig". So for now this link is very tenuous, especially as "Christe, du Lamm Gottes" was also set in Saxon hymnals for Quinquagesima/Oculi; and would be a natural choice for that day. This leaves open the remote possibility that (a) beggars used both tones of the Agnus Dei; or (b) Bach's settings of "O Lamm Gottes unschuldig", if performed on this day, carry the sub-text: a call to be generous to the poor.

Luke Dahn wrote (February 21, 2018):
I have a few comments relating to both of the current BCML thread topics, specifically to the authenticity of the chorales from the St. Mark Pasticcio. There are three plain chorale settings in the St. Mark Pasticcio:

1) A setting of "So gehst du nun, mein Jesu, hin" by Friedrich Nachtenhöfer which is a four-voice variant of a two-voice setting that later appeared in the Schemelli Gesangbuch. For this reason, this four-voice setting was assigned in 1998 the Schmieder catalogue number BWV 500a, corresponding to the Schemelli setting. www.bach-chorales.com/BWV0500a.htm

2) A setting of Michael Weisse's "Christus der uns selig macht," which Will discussed and which was assigned the catalogue number BWV 1084, also in 1998. www.bach-chorales.com/BWV1084.htm

3) A setting of "O Traurigkeit, o Herzeleid!" by Friedrich von Spee which has not been assigned a BWV number. www.bach-chorales.com/BWV_deest_O_Traurigkeit.htm

I have always found it quite puzzling that the first two of these were deemed authentic and given a Schmieder catalogue number. Both settings contain numerous instances of stylistic aberrations. This is particularly the case with BWV 500a, which features seven instances of harmonies with missing chord thirds (mm. 2/6, 4/8, 9, 10, 12, 15, 16). Really, the only times Bach leaves chord thirds out of the voice parts are at cadences when obbligato instruments fill in the missing chord members. Apart from these missing thirds, the measure 13 tenor appoggiatura is stylistically aberrant, as is the cadence in measure 14 to a root position diminished triad. Likewise, in BWV 1084 no fewer than six instances of missing chordal thirds occur (mm. 2, 3, 5, 8, 11, 15). I know of no other plain chorale setting by Bach that has more than one or maybe two instances of missing chordal thirds in the voice parts even when obbligato instruments are involved. Given these aberrations, I have a very difficult time believing that they were composed by Bach himself, audacious as that claim might be. I wonder if others have also noted these aberrations.

The "O Traurigkeit" setting, on the other hand, seems far more in line with the Bach's chorale style than the other two. The setting has no eighth note figuration (which I only guess might have been a factor in not assigning it a BWV number), but there are other settings with little or no eighth note figuration that have been deemed authentic (e.g. BWV 1124, BWV 153.9, BWV 67.7). Other than the rather barren quarter-note setting, the chord structure and voice-leading in this setting are quite in line with Bach's chorale style. My main point, however, is not to argue for the authenticity of this setting but to call into question the other two.

On a side note, I want to take the opportunity to mention that the new Bach chorales site, www.bach-chorales.com, which I still consider to be in its infancy, has been gaining quite a bit more traffic. (Will has been using links in his posts.) I want to make the site as useful as possible, so if anyone has any feedback at all regarding possible improvements, resources you find useful, etc., please let me know. I hope the new site complements the BCW in a number of ways, and numerous links throughout direct to various BCW pages.

Peter Smaill wrote (February 21, 2018):
[To William L. Hoffman] Several will be aware that the one surviving hymnbook from Bach's library is the Michael Weisse production for the Bohemian Brotherhood; it resides in the Euing collection in Glasgow University, who kindly lent it for the 2011 Bach Network dialogue in Edinburgh. Here is Reinhard Strohm's analysis of its significance for Bach: https://www.bachnetwork.org/ub6/Strohm%20UB6.pdf

William L. Hoffman wrote (February 21, 2018):
[To Luke Daahn] Your research is amazing, especially the sources of the chorale texts and melodies, the Zahn numbers, and the four-part harmonizations of the Schmelli Gesangbuch settings, also the speculation on the chorale origins. Suggestions: I wish you would link each chorale to the BCW melody-text information and text translation.

Luke Dahn wrote (February 21, 2018):
[To William L. Hoffman] I am glad to hear you have found the various resources useful. Each chorale page contains links to the relevant BCW chorale text and melody pages (when available), as well as to BCW pages for chorale tune composers, text authors and to the large works (eg cantatas) from which the chorales come. See for example: http://www.bach-chorales.com/BWV0090_5.htm

I imagine you are wanting links to be added to the Sortable Chorale Index (http://www.bach-chorales.com/BachChoraleTable.htm), which is an excellent suggestion. If there are other specific pages that you'd like to see links added, please let me know.

Passiontide: Bach & Colleagues, Chorales, Oratorios

William L. Hoffman wrote (February 24, 2018):
Although the Lenten period was a closed time that generally prohibited elaborate music during the Baroque period in Germany, composers were able to present Passion music, both in plain hymn settings as well as extensive oratorio settings as part of a tradition that began with the Passion Play at Oberammergau. The tempus clausum (silent time) closed period in the church year in Leipzig banned figural music during the services, except for the Good Friday vespers performance of a Passion setting and the fixed Annunication Festival on March 25 which sometimes occurred on Palm Sunday. Thus, there was no polyphonic introit Psalm setting to begin the main service or a cantata preceding the sermon or during communion, or a chorale prelude setting. In Leipzig, chorales still were an important part of the service, Gottfried Vopelius. "Kirchen-Ordnung dieser Christlichen lieder" (= first register), pp. 1105–1117 in Neu Leipziger Gesangbuch [NLGB] (Leipzig: Christoph Klinger, 1682), https://books.google.com/books?id=UmVkAAAAcAAJ&pg=PA1105#v=onepage&q&f=false, https://en.wikipedia.org/wiki/Gottfried_Vopelius#p._125.

Passiontide music was appropriate, particularly during Holy Week when, by tradition, John's Gospel Passion was read and related Passion music was performed on Palm Sunday, followed by the readings of the Gospel accounts of the Passion of Matthew, Mark and Luke during the wee. Chorale harmony settings included "O Mensch, bewein dein Sünde groß" (O Man, bewail thy great sin) and "Jesu, Leiden, Pein und Tod" (Jesus suffering, pain and death) as well as the traditional "Da Jesus an dem Kreuze stund" (On the cross Jesus hung) setting of the Seven Last Words (https://en.wikipedia.org/wiki/Sayings_of_Jesus_on_the_cross.). Following Catholic tradition, the Passion stories were recited to chant tones which could include polyphonic settings of the choruses. Another tradition is the Passion Play at Oberammergau every decade. Elsewhere in Lutheran communities collections of Passiontide chorales were assembled and sung, interspersed with readings of the Passion stories in the canonical gospels. In Hamburg and other communities, the poetic harmony setting of Berthold Heinrich Brockes set by various composers — notably Keiser, Telemann, Handel, and Mattheson — were performed since 1712 (https://en.wikipedia.org/wiki/Brockes_Passion), and displaced in 1755 by "Der Tod Jesu" (The Death of Jesus) by Karl Wilhelm Ramler, first set by Carl Heinrich Graun (https://en.wikipedia.org/wiki/Der_Tod_Jesu).

|Three Bach colleagues presented cantatas during Lenten main services: Georg Philipp Telemann in Hamburg, Christoph Graupner in Darmstadt (also on Maundy Thursday), and Gottfried Heinrich Stölzel in Gotha. Telemann, followed by Emmanuel Bach, presented quadrennial cycles of Passion settings, in Hamburg, 1722-1779. Librettists who set annual church cantata cycles including Lent were Erdmann Neumeister in Hamburg (https://en.wikipedia.org/wiki/Erdmann_Neumeister), Georg Christian Lehms in Darnstadt (https://en.wikipedia.org/wiki/Georg_Christian_Lehms); and Benjamin Schmolck in Gotha (http://www.bach-cantatas.com/Lib/Schmolck.htm). Their cantatas for the 1st Sunday in Lent are: Telemann, "Fleuch der Lüste Zauberauen," TWV 1:549 (Harmonischer Gottes-Dienst, Hamburg 1726); Graupner, see List of cantatas by Christoph Graupner#GWV 1120; and Stölzel, "Ich habe einen Held erwecket, der helfen soll" (Leiopzig, 1736), and "Gelobet sei der Herr mein Hort" (1738). In Weimar, which had no closed periods, Bach presented cantatas during Advent and Lent, performed on the Third Sunday of Lent (Oculi), "Widerstehe doch der Sünde" (Stand firm against sin), BWV 54 (4 March 1714?), and "Alles, was von Gott geboren" (All was born of God), BWV 80a (24 March 1715 or 15 March 1716).

Lenten Time of 40 days (quadragesima) begins with Ash Wednesday which has no designated Lutheran chorales found in hymnbooks such as the NLGB, beginning as the "Fasten-Zeit" (Fasting Time) until Palm Sunday on the "Leiden und Sterben Jesu Christi" (Suffering and Death of Jesus Christ). Lent also is the period of fasting, Ramadan, in the Muslum faith and the rituals of the weekly Passover in the Jewish faith. In Christianity, Lent is the time of "deep humiliation, of abstinence from social intercourse, and pleasures," says Paul Zeller Strodach.¹ "Fasting was rigorously practiced. Frequent and devout attendance at Divine Worship was enjoined. It was and should be still, a Season of deep penitence and mourning for one's sin. This is typified in the Liturgical color of the Season, purple, the Church's color of mourning." The color is found in the Michael Franck 1652 Death & Dying hymn, which Bach set as chorale Cantata 26 for the 24th Sunday after Trinity 1724, "Ach wie flüchtig, ach wie nichtig ist der Menschen Prangen!" (Ah how fleeting, ah how insubstantial is man's splendour!), Stanza 6: "Der in Purpur hoch vermessen / ist als wie em Gott gesessen, / dessen wird im Tod vergessen." (Someone who most presumptuously in purple / took his seat like a god / is forgotten in death.), http://www.bach-cantatas.com/Texts/Chorale122-Eng3.htm.

Ash Wednesday, Invocavit Sunday

Ash Wednesday in Bach's time and today's lectionary has the same readings of Psalm 51, Misrere mei, Deus (Have mercy on me, O God (https://www.biblegateway.com/passage/?search=Psalm+51&version=KJV), Gospel, Matt. 6:16-21 (Fast to God, not man, https://www.biblegateway.com/passage/?search=Matthew+6%3A16-21&version=KJV), and Epistle Joel 2:12-19, Call to repentance (https://www.biblegateway.com/passage/?search=Matthew+6%3A16-21&version=KJV). In the mid-1740s, Bach adapted the German paraphrase of Psalm 51, "Tilge, Höchester, meine Sünden" (Blot out, Highest, My Sins), as a transcription of Pergolesi's Stabat Mater, BWV 1083 (http://www.bach-cantatas.com/Vocal/BWV1083-Gen2.htm, https://www.youtube.com/watch?v=DHCoKWZLXKA), and appropriate for the Good Friday Vespers. Today's three-year lectionary uses Matt. 6:16-21 as the Gospel reading for all three years, adding the preface, Matthew 6:1-6 (works-righteousness to God, https://www.biblegateway.com/passage/?search=Matthew+6%3A1-6&version=KJV). Cantata 26 is one of several Bach works appropriate for Ash Wednesday, says John S. Sutterlund.² "To set one's heart on earthly treasures is a seduction of the foolish world," he says, a reference to Matthew 6:19. Other appropriate cantatas are BWV 199, "Mein Herze schwimmt im Blut" (My heart swims in blood), for the 11th Sunday after Trinity, 1714, to a Lehms libretto; chorale Cantata 135, "Ach Herr, mich armen Sünder" (Ah Lord, poor sinner that I am), for the 3rd Sunday after Trinity 1714; Cantata 181, "Leichtgesinnte Flattergeister" (Scatterbrained frivolous people), for Sexagesima Sunday 1724); Cantata 32, "Liebster Jesu, mein Verlangen" (Dearest Jesus, my desire), foir the 1st Sunday after Epiphany, 1726 (Lehms text); and Cantata 136, "Erforsche mich, Gott, und erfahre mein Herz" (Search me, God, and know my heart), for the 8th Sunday after Trinity 1723.

The First Sunday in Lent, called Quadragesima (40 days), is known as Invocavit, taking its name from the Introit Psalm 91:15, "He shall call upon me, and I will answer him: I will be with him in trouble; I will deliver him, and honour him." It is a song of trusting faith (https://www.biblegateway.com/passage/?search=Psalm+91&version=KJV, says Strodach (Ibid.: 169), and is a paraphrase chorale, Cornelius Becker's "Wer sich des Höchsten Schirm vertraut," NLGB No. 260, Psalms (https://books.google.com/books?id=UmVkAAAAcAAJ&pg=PA685#v=onepage&q&f=false) to the melody "Allein Gott der Herr sei Ehr." The Paul Gerhardt hymn paraphrase of Psalm 91, "Wer unterm Schirm des Höchsten," is set in Christopher Graupner's 1751 cantata for Invocavit. The Gospel in Bach's time was Matt. 4:1-11 (https://www.biblegateway.com/passage/?search=Matthew+4%3A1-11&version=KJV, https://newchristianbiblestudy.org/bible/german-luther-1545/matthew/4/, which is Year A in the common lectionary, while this week's Year B is Mark 1:9-15, and Year C is Luke 4:1-13, in all three synoptic Gospels dealing with Jesus' 40 days in the desert but the abbreviated first gospel account, Mark, does not describe the three temptations. Here is the incarnate Son exhuman temptation in the face of deprivation, as he would in the Garden of Gethsemane during his Passion. The Epistle in Bach's time was 2 Cor. 6:1-10 (https://www.biblegateway.com/passage/?search=2+Corinthians+6%3A1-10&version=KJV, https://newchristianbiblestudy.org/bible/german-luther-1545/2-corinthians/5/), marks of ministry, while today's reading is 1 Peter 3:18-22, "Finally, be ye all of one mind, having compassion one of another, love as brethren, be pitiful, be courteous (https://www.biblegateway.com/passage/?search=1+Peter+3%3A8-22&version=KJV).

Most appropriate Bach work this week is chorale Cantata 178, "Wo Gott der Herr nicht bei uns hält" (If the Lord God does not stay with us), a 1724 Justas Jonas paraphrase of Psalm 124, Nisi quai Dominus (http://www.bach-cantatas.com/Texts/Chorale086-Eng3.htm), for the 8th Sunday after Trinity 1724, says Sutterlund (Ibid.). The theme is the Church Militant resisting demonic attacks only with protection from God. The other, similar hymn is Luther's "Ein feste Burg ist unser Gott" (A mighty fortress is our God), originally a paraphrase of Psalm 46, in Cantata 80 for Reformation festival by 1740. In the wilderness temptation gospels of Matthew (Year A) and Luke (Year C), about the three earthly temptations of sustenance, life, and dominion, the appropriate cantatas are BWV 40, "Darzu ist erschienen der Sohn Gottes" (For this reason the Son of God appeared), Christmas Festival 2, 1723; Cantata 48, "Ich elender Mensch, wer wird mich erlösen vom Leibe dieses Todes?" (Miserable man that I am, who will free me from the body of this death?, Romans 7:24), for the 19th Sunday after Trinity 1723; Cantata 54, "Widerstehe doch der Sünde" (Stand firm against sin), Oculi or 7th Sunday after Trinity 1714; and Cantata 179, "Siehe zu, dass deine Gottesfurcht nicht Heuchelei sei" (See that your fear of God is not hypocrisy, Ecclesiastes 1:28), for the 11th Sunday after Trinity 172.

Invocavit NLGB Luther Chorales
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The chorales for the 1st Sunday in Lent in the NLGB are Martin Luther settings that have connections to the Passiontide theme of the Suffering and Death of Jesus, as well as other liturgical and theological implications:

Hymn of the Day, "Vater unser im Himmelreich" (Lord's Prayer, Our Father in heaven), and pulpit/communion hymns "Ein feste Burg ist unser Gott" (A mighty fortress is our God), and two lesser-known hymns, "Gott der Vater wohn uns bei" (God, the Father, stay with us), and “Christe, der du bist Tag und Licht" (Christ, you are the day and light). Bach sets these four hymns as plain chorales in the St. John and St. Mark Passions, as chorale Cantata 80, and in other four-part hymns as well as the melody in organ preludes.

"Vater unser im Himmelreich" is the Luther 1539 nine-verse poetic setting of the Lord's Prayer in the Gospel of Luke (11:2-4, https://www.biblegateway.com/passage/?search=Luke+11%3A2-4&version=KJV), found in the NLGB as No. 175 (Catechism, https://books.google.com/books?id=UmVkAAAAcAAJ&pg=PA505#v=onepage&q&f=false, https://en.wikipedia.org/wiki/Vater_unser_im_Himmelreich), as well as a designated hymn for Epiphany 3, Septuagesima, Rogate (Easter 5), and the Sundays after Trinity 5, 7, 11, 14, 15, 22, and 25, also found in the Schmelli Gesangbuch on page 272, Suffering & Death of Jesus. For Invocavit, the devotional hymn in Stanza 3 emphasizes the coming of God's Kingdom in contrast to the Gospel temptation of worldly kingdoms in the Gospel reading (Matt. 4:8-9). Stanza 5 offers spiritual daily bread in contrast to the temptation of earthly bread (Matt. 4:3-4). Stanzas 7-8 seek deliverance from temptation and evil. Bach set Luther's 4th Stanza, "Dein Will gescheh, Herr Gott" (May your will be done , Lord God) in the St. John Passion (No. 5, http://www.bach-chorales.com/BWV0245_5.htm), when Jesus is arrested and the melody in Clavierübung III, BWV 682-3 (all uses, https://www.youtube.com/watch?v=P_gaP8bU9Sk; further information, https://groups.yahoo.com/neo/groups/BachCantatas/conversations/messages/39327).

"Ein feste Burg ist unser Gott" is the Luther 1529 four-stanza paraphrase of Psalm 46, Deus noster refugiam et virtus (God is our refuge and strength, http://www.kingjamesbibleonline.org/Psalms-Chapter-46/), found in the NLGB as No. 255 (Psalm settings, The Church Militant), and also for Reminiscare, Oculi, Exaudi (Easter 6), and the 22nd and 27th Sundays after Trinity, as well as in the Schmelli on pp. 283f, Suffering & Death of Jesus. The Church Militant emphasis of Luther's psalm-based hymn (https://en.wikipedia.org/wiki/A_Mighty_Fortress_Is_Our_God) seeks the protection of God in times of trouble in Stanza 1, of Jesus Christ to defend God's city in Stanza 2, and against the evil-filled world in Stanza 3 the Word of God and the spirit that will sustain God's kingdom forever in Stanza 4. Bach set it as chorale Cantata BWV 80 (https://www.youtube.com/watch?v=7i2z7prCyDY) and plain chorale BWV 303 (http://www.bach-chorales.com/BWV0303.htm), probably found in the St. Mark Passion, BWV 247/38, at the beginning of the beginning of the Way of the Cross, Stanza 4, "Das Wort sie sollen lassen stahn" (They shall pay no heed to God's word, https://www.youtube.com/watch?v=p89NgNz92AQ, 01:26:43 42. Choral - Das Wort sie sollen lassen stahn), as well as the Miscellaneous chorale prelude, BWV 720, https://www.youtube.com/watch?v=6phVvCNSk6g).

"Gott der Vater wohn uns bei" (God, the Father, stay with us), to the Johann Walther melody after Halberstadt c1500 (Zahn 8507), published in the first Wittenberg hymnal of 1524, is the three-stanza 1524 Trinityfest hymn on fundamental Trinitarian theology, modeled after 15th century Latin saints-day addressing litany hymns, says Robin A. Leaver.³ It is found in the NLGB as 136 with music, Trinityfest (https://books.google.com/books?id=UmVkAAAAcAAJ&pg=PA416#v=onepage&q&f=false), also for Lenten Reminiscare and Oculi as well as the 24th Sunday after Trinity, and in the Schmelli on pp. 245-47, Suffering & Death of Jesus. In Luther's hymn (English translation, http://www.lutheran-hymnal.com/lyrics/tlh247.htm), Stanza 1 implores God's protection against evil, Stanza 2 seeks Christ's defense against the "Evil One," and Stanza 3 finds the Holy Spirit's intercession. Contemporary Sources: Evangelisches Gesangbuch EG 138 (https://www.youtube.com/watch?v=a41K2SqD8Mk); Lutheran Book of Worship (Minneapolis MN: Augsburg Publishing, 1978), No. 308, "God the Father, Be Our Stay" (Repentance Forgiveness), and New Lutheran Hymnal (St. Louis MO: Concordia Publishing, 2006), No. 505, "Triune God, oh, be our Stay" (Holy Trinity).

Bach set the melody as a plain chorale in D Major, BWV 317 (http://www.bach-chorales.com/BWV0317.htm), while chorale prelude, BWV 748 (Emans 75, BWV Anh.III 172), is now attributed to Johann Gottfried Walther (https://www.youtube.com/watch?v=qrD_WcFd0-k and in the Orgelbüchlein as Ob. 52, Trinity, not set (Weissenfels 1713/14 Hymnal melody, http://www.orgelbuechlein.co.uk/wp-content/uploads/2011/12/Weissenfels-Gott-der-Vater-wohn-uns-bei.pdf * divergences from BWV 317, and the Gotha 1715 Hymnal, http://www.orgelbuechlein.co.uk/wp-content/uploads/2011/12/Witt-185-Gott-der-Vater-wohn-uns-bei.pdf). Other composers' settings include motets of Michael Praetorius (https://www.youtube.com/watch?v=WqJ1ZnWG5e8) and Heinrich Schütz, SSWV 17 (https://www.youtube.com/watch?v=QWmJ-bKmJ34), and organ chorale preludes of Samuel Scheidt (http://www.worldcat.org/title/80-chorale-preludes-german-masters-of-the-17th-and-18th-centuries-organ/oclc/25701763); Dietrich Buxtehude, BuxWV 190 (https://www.youtube.com/watch?v=xrjTFXmn4Dc), and Johann Pachelbel (https://www.youtube.com/watch?v=8bn-9hX40GY); and a Johann Kuhnau vocal concerto, https://www.amazon.co.uk/Kuhnau-Complete-Camerata-Lipsiensis-555020-2/dp/B01NCKH73I (nos. 15-16).

"Christe, der du bist Tag und Licht" (Christ, you are the day and light), from the 6th century Latin version, the Ambrosian Lenten Compline hymn "Christe qui lux es et dies," is the Lutheran seven-stanza Catechism evening song composed in 1526 by Luther to the early Latin hymn Christe qui lux es et dies with the associated melody (Zahn 343). The text paraphrase from the Latin was published in Wittenberg in 1525 (EG 469, EKG 354) and is attributed to Wolfgang Mueslin/Meusel (1497-1563, http://www.bach-cantatas.com/Lib/Meuslin.htm, https://en.wikipedia.org/wiki/Wolfgang_Musculus) while the chorale was published in Joseph Klug's Geistliche Lieder, 1543. Christe qui lux es et dies was set as a German contrafactum in 1523 by the Swiss reformer and Luther associate Urbanus Rhegius (1489-1531), says Leaver.⁴

The Luther melody (Zahn 343) is related to the four-stanza Passion and Thanks hymn "Wir danken dir, Herr Jesu Christ, dass du für uns gestorben" (We thank you, Lord Jesus Christ, that you have died for us), text Christoph Fischer (1518-1598) 1568, melody Nikolaus Herman (c1480-1561, http://www.bach-cantatas.com/Lib/Herman-Nikolaus.htm) 1551 (http://www.liederdatenbank.de/song/1483), found in the Dresdener Gesangbuch (II 1597), and in the Orgelbuchlein, No. 26 (Passiontide), BWV 623 (https://www.youtube.com/watch?v=qtW-g67ra-k; text Bighley, Ibid.: 250f), and No. 149 (Evening Hymn), not set. It is found in the Schemelli on page 214, Christmas. A second, related text, "Wir danken dir, Herr Jesu Christ, dass du das Lämmlein worden bist," is found in the Orgelbuchlein, No. 83 (Lord's Supper, alternate melody Zahn 479), but not set, Peter Williams points out.⁵

"Christe, der du bist Tag und Licht” is found in the NLGB No. 205 (Catechism Evening Hymns) with music (Zahn 343 II, https://books.google.com/books?id=UmVkAAAAcAAJ&pg=PA572#v=onepage&q&f=false), preceded by Christe qui lux es et dies (NLGB No. 204, Zahn 343 I), and followed by the related "Christe, der du bist der Helle Tag" (NLGB 206, Zahn 384, Orgelbuchlein No. 148, Evening hymn), both attributed to Michael Weiße. "Christe, der du bist Tag und Licht” is based on Psalm 91, Qui habitat, He that dwelleth in the secret place https://www.biblegateway.com/passage/?search=Psalm+91&version=KJV), and is found in the Schmelli on p. 23, Evening Song. It is related to the hymn, "Wir danken dir . . . ," as well as Paul Eber's "Herr Jesu Christ, wahr Mensch und Gott," BWV 336 (Zahn 423, http://www.bach-chorales.com/BWV0336.htm).

Besides Orgelbuchlein, No. 26 (BWV 623), and related hymn listings, Nos. 83 and 148-49, the hymn is set as early organ chorale preludes in the Neumeister Collection, BWV 1096, "Christe, der du bist Tag und Licht/"Wir danken dir, Herr Jesu Christ" (https://www.youtube.com/watch?v=X05kd-j8iWg), possibly by Johann Pachelbel. Bach also set this hymn as a liturgical plain chorale, BWV 274 in g minor (http://www.bach-chorales.com/BWV0274.htm, https://www.youtube.com/watch?v=pq2xhYZaVBc). The melody also is listed but not set in the Orgelbüchlein, No. 149 (Evening Song, http://www.orgelbuechlein.co.uk/wp-content/uploads/2011/12/NOB-149-chorale.pdf). The related Erasmus Alberus 1566 Evening Song "Christe, der du bist der Helle Tag" (http://bach-cantatas.com/Topics/Chorale-Devotion.htm) also is found in Neumeister as BWV 1120 as well as the plain chorale, BWV 273 (http://www.bach-chorales.com/BWV0273.htm), and Partita and chorale variations BWV 766 (music, https://www.youtube.com/watch?v=Ht0eVwutdXA).

Other settings of "Christe, der du bist Tag und Licht” include Friedemann Bach as an organ chorale prelude (https://www.classicalarchives.com/album/040888403821.html) and Hans Leo Hassler as four-part motet, http://imslp.org/wiki/Suite_of_Choral_Settings_(Hassler%2C_Hans_Leo). The English hymn version is “O Christ, who art the light and day" (https://hymnary.org/text/o_christ_who_art_the_light_and_day_thou).

FOOTNOTES

¹ Paul Zeller Strodach, The Church Year: Studies in the Introits, Collects, Epistles and Gospels (Philadelphia PA: United Lutheran Publication House, 1924: 104).
² John S. Sutterlund, Bach Through the Year: The Church Music of Johann Sebastian Bach and the Revised Common Lectionary (Minneapolis MN: Lutheran University Press, 2013: 37f).
³ Robin A. Leaver, Luther's liturgical Music: Principles and Implications (Grand Rapids MI: Eerdmanns Publishing, 2007: 110f. See also: Ulrich S. Leupold, Luther's Works, Vol. 53, Liturgy and Hymns (Philadelphia PA: Fortress Press, 1965, 332ff, 268f); and Mark S. Bighley, The Lutheran Chorales in the Organ Works of J. S. Bach (St. Louis MO: Concordia Publishing, 1985: 106).
⁴ Robin A. Leaver, The Whole Church Sings: Congregational Singing in Luther's Wittenburg (Grand Rapids MIO: Eerdmanns Publishing, 2017: 83).
⁵ Peter Williams, (https://books.google.com/books?id=gTXxUk1LAowC&pg=PA550&lpg=PA550&dq=wir+danken+dir+.+.+.+dass+du+das+Lammlein+worden+bist&source=bl&ots=yaY3Oz7b0n&sig=p74503M3BckYLpwiOEiWSnwqaZo&hl=en&sa=X&ved=0ahUKEwjk94DC17zZAhVE7WMKHXeMDf0Q6AEISzAE#v=onepage&q=wir%20danken%20dir%20.%20.%20.%20dass%20du%20das%20Lammlein%20worden%20bist&f=false. Other commentary: Christoph Wolff, https://books.google.com/books?id=8WFNr4EZk2cC&pg=PA118&lpg=PA118&dq=%22Christe,+der+du+bist+Tag%22+other+composers+settings&source=bl&ots=vEzRwneyEF&sig=7UxdKmRs6Wwp0Sv-fGnWh9P6_OM&hl=en&sa=X&ved=0ahUKEwjHjOmN87zZAhVEymMKHY4mClkQ6AEIQDAF#v=onepage&q=%22Christe%2C%20der%20du%20bist%20Tag%22%20other%20composers%20settings&f=false; Richard D. P. Jones, https://books.google.com/books?id=-Pdssru1i8oC&pg=PA80&lpg=PA80&dq=%22Christe,+der+du+bist+Tag%22+other+composers+settings&source=bl&ots=nPGjnzDkeV&sig=fNwN4-4hywPAWV6KKRJ7_XbHAN0&hl=en&sa=X&ved=0ahUKEwjHjOmN87zZAhVEymMKHY4mClkQ6AEISzAH#v=onepage&q=%22Christe%2C%20der%20du%20bist%20Tag%22%20other%20composers%20settings&f=false.

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To Come: The 2nd Sunday in Lent (Reminiscere) with appropriate chorales and Bach music, as well as other Passiontide chorales.