Chorale Melodies used in Bach's Vocal Works
Ach, was soll ich Sünder machen

Melody & Text | Use of the CM by Bach | Use of the CM by other composers

Melody & Text:

Melody: Zahn 3573b
Composer: Anon (1653 / Johann Flittner (?) (1663)

According to Frieder Rempp the CM is based on a secular melody by Enoch Gläser (1653). In the critical commentary for BWV 259 (Breitkopf chorale No.39) on page 161 of NBA KB III/2.2, editor Frieder Rempp writes: "Melodie weltlich von Enoch Gläser 1653, geistlich 1661 (Zahn 3573a/b)." This attribution is questionable since Enoch Gläser (1628-1668) was a lawyer and pastoral poet but nor a composer. Probably Flittner used a melody composed by an anonimous composer for a song by Gläser as a basis for the music he wrote to his hymn.

Text: Ach, was soll ich Sünder machen
Author: Johann Flittner (1661)

Use of the Chorale Melody by Bach:

Text: Ach, was soll ich Sünder machen

Chorale Ach, was soll ich Sünder machen, BWV 259
Ref: RE 39; Br 39; KE 10; Di 43; Levy–Mendelssohn 57; Fasch p.66; BGA 7; BC F5.1

Untexted:

Chorale Partita Ach, was soll ich Sünder machen, BWV 770 (c1704)
Ref: BC K93

This Chorale partita is a large composition with a theme and ten variations and having a duration of 12 minutes or more. It probably dates to the first two decades of the eighteenth century and, as the headnote indicates, may be the work of someone other than J.S. Bach. It is quite popular, as evidenced by its steady flow of recordings, recordings whose performers likely believe it to be either the work of J.S. Bach or of someone who could rise to his lofty artistic heights. The main theme is stately and serene, played mostly in upper-register sonorities but lacking J.S. Bach's typically deft contrapuntal writing. The theme is heard but once and the first variation immediately follows, which is delivered in even higher sonorities and imparts an ethereal, yet playful mood. The next variant carries on in much the same manner, while the third is mellow, but still sings in the higher ranges. The fourth is lively and shows interesting contrapuntal activity, while the ensuing variation is playful and dreamy, and the sixth is vivacious and muscular. The next mixes the somber with the stately to wonderful effect. The eighth and ninth are both energetic and colorful, while the brilliant and somewhat complex tenth continues the lively pacing but adds a glorious glow.
Source: AMG (Author: Robert Cummings)

Use of the Chorale Melody by other composers:

Sources: Bach Digital; BGA; Zahn
Prepared by Aryeh Oron (October 2018)
Thanks to contributors: Luke Dahn (October 2021)