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"Wir glauben all an einen Gott" (We all believe in one God) is a Lutheran hymn, a paraphrase of the creed, by Martin Luther and first published in Johann Walter's chorale hymnal Eyn geystlich Gesangk Buchleyn. It was used in several musical settings, including Kleine Geistliche Konzerte I, SWV 303, by Heinrich Schütz, and J.S. Bach's Clavier-Übung III, BWV 680 and 681.
Source: Wikipedia (May 18, 2018) |
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Credo: “Wir glauben all”
The centerpiece of the Latin Mass Ordinary and the Deutsche Messe are the “Credo in unum Deum” and M. Luther’s “Wir glauben all an einem Gott” (We all believe in one God). For M. Luther, his setting replaced the Latin version as a theological statement used in the Mass following the Gospel, as a Catechism teaching song, and during the Deutsche Messe as a communion hymn (texts, http://www.musicanet.org/robokopp/Lieder/wirglaub.html, http://www.musicanet.org/robokopp/hymn/weallbel.html). M. Luther’s setting from pre-Reformation German sources (Bighley, Ibid.: 252) and found in a Bresalau manuscript in 1417, M. Luther’s version is based on the Apostles Creed with theological inflections as catechism teaching, first published in Chorgesangbuch (Wittenberg, 1524). It is found in the 1682 NLGB as No. 174 (Zahn 7911, Wackernagel III: 16). Known in English as “We all believe in one true God,” it is found in the unison setting in the current Evangelical Lutheran Worship as No. 411, “Holy Trinity,” while the current Lutheran Service Book also has the four-part setting, both (nos. 953, 954) in the Liturgical Music section.
M. Luther composed “Wir glauben all an einem Gott” first as a Trinitarian hymn with its proximity to Johann Walter’s trinitarian litany, “Gott der Vater wohn uns bei” (God the Father, with us be, http://www.lutheran-hymnal.com/german/tlh247g.htm, http://www.lutheranchoralebook.com/texts/god-the-father-be-our-stay/), in Johann Walter’s 1524 hymnal. It is found in the NLGB as a Trinityfest hymn No. 139 (Zahn 8507). J.S. Bach harmonized this BAR chorale as BWV 317 (https://www.youtube.com/watch?v=LIZLBJj0aa4, https://www.youtube.com/watch?v=g4vXsDlcxWA), after designating it in the Orgelbüchlein as a Trinityfest chorale (no. 52, unset). The organ prelude setting, BWV 748, now is attributed to Johann Walther, J.S. Bach Weimar cousin (https://www.youtube.com/watch?v=4yrSHSIKyNw).
J.S. Bach’s Catechism settings of “Wir glauben all an einem Gott,” BWV 680-681, are the centerpiece of his Clavierübung III, placed in the Catechism section after the 10 commandments and preceding the Lord’s Prayer. Thematically the Creed preludes are based on the Gregorian version of Dorian Credo IV from the Catholic Liber usualis. In setting BWV 680, in 2/4 Italian style, “Bach used this beautiful, sweeping and expansive melody for a fugue,” observes says Elsie Fitzer CU liner notes (music, https://www.youtube.com/watch?v=aiVA5wuRalY). The fugal theme and pedal obstinate figure (bars 4-9) established the sense of stability in the believers faith as expressed in the creed, particularly in the Pauline language of “grounded and steadfast’ faith (Colossians 1:23), observes Humphries (Ibid.: 54). Musically, the Italian style of ritornello shape also involves a “striding obstinate bass line without pauses,” showing the influence of J.S. Bach’s Credo section addition to Bassani’s Mass in F (https://www.youtube.com/watch?v=ugwudR48Kzg), says Williams (Ibid.: 412).
Like his study of the Kyrie eleison beginning in Weimar, J.S. Bach systematically pursued the Credo in Leipzig, particularly in the 1740 when he composed the remainer of his “Great Catholic” B Minor Mass. J.S. Bach had the Bassani Masses copied between 1736 and 1740 when he was working on the Clavierübung III. Later, in 1747-1748, he himself composed ex novo the intonation (Credo in unum Deum) for the fifth of these. This brief composition (16 bars in length) in F major for four voices (SATB) and continuo (BWV 1081) follows the style of the collection and introduces the same plainchant intonation that J.S. Bach used in the Symbolum Niceum of his Mass in B minor (BWV 232).
The shortest of the prelude collection, lasting just over one minute, is the “Fughetta super,” BWV 681, in 4/4. The galant dotted rhythm embellishes the first chorale line, in the manner of Buxtehude, to “symbolize God’s almighty power,” says Fitzer (Ibid.), The contrasting Italian style in the flowing cantabile “characterizes faith as an all-embracing entity,” she says.
Source: Luther's Deutsche Messe, Other Liturgical Chorales (William L. Hoffman, July 21, 2017) |
