[29] It is a double fugue, with a first theme for the first line, another for the second,[37] "so anders Gottes Geist in euch wohnet" (since the Spirit of God lives otherwise in you),[13] and then both combined [37] in various ways, parallel and in stretti. Chorale Melodies: | Chorales - H. Rilling The seventh movement is a four-part setting of the fourth stanza of the hymn,[45] "Weg mit allen Schätzen" (Away with all treasures). [13][35] The final line repeats the beginning, on the same melody: "Dennoch bleibst du auch im Leide, / Jesu, meine Freude" (You stay with me even in sorrow, / Jesus, my joy).
The melody repeats the first line as the last, framing each of the six stanzas. Jesu, meine Freude, Chorale Prelude for Organ Terry] [3][29] Five voices take part in dramatic illustration of defiance, in the same rhetorical style as the beginning of the second movement,[29] here often expressed in powerful unison. The Easter hymn, “Jesus, meine Zuversicht,” attributed to Luise Henriette Electress of Brandenburg, was published, set to Johann Crüger 's (?) Jesu meine Freude, Chorale Prelude for Organ, Op. The bulk of the composer's sacred music, including almost all of his church cantatas, was written for such occasions. Ausgabe, "Music in the Castle of Heaven: A Portrait of Johann Sebastian Bach", Altbachisches Archiv: aus Johann Sebastian Bachs Sammlung von Werken seiner Vorfahren Johann, Heinrich, Georg Christoph, Johann Michael u. Johann Christoph Bach, Johann Sebastian Bach: His Work and Influence on the Music of Germany, 1685–1750, Die Melodien der deutschen evangelischen Kirchenlieder, "Johann Sebastian Bach (1685-1750) / Motets", "On J. S. Bach's Sublime 'Gute Nacht' of Jesu, meine Freude (BWV 227)", "Jesu, meine Freude, BWV 227 / Johann Sebastian Bach", "Johann Sebastian Bach / Jesu, meine Freude, motet for 5-part chorus, BWV 227 (BC C5)", "CD reviews / Johann Sebastian Bach (1685-1750): Motets", "Composition Type: Sacred Music / Work: Jesu, meine Freude, BWV 227", "Jesu, meine Freude, meines Herzens Weide", Jesu, meine Freude, BWV 227 (Bach, Johann Sebastian), International Music Score Library Project, Literature about Jesu, meine Freude, BWV 227. | Part 3 Bach used word painting to intensify the theological meaning of both hymn and Epistle texts. 7 (MG) [midi] | Mvt. [56] Bach's vivid setting of the contrasting texts, even illustrating single words, results in music of an unusual dramatic range. Simple four-part chorale harmonisations like the ones Bach made for his cantatas can, of course, be used for other purposes as well. 8:2) and eighth (Rom. Use of the Chorale Melody by other composers: David Pohle [Pohl, Pohlen, Pole, Pol, Bohle] (b 1624 - Marienberg, nr Chemnitz, Germany; d December 20, 1695 - Merseburg, Germany): Bach (Spurious): [based upon the NBA KB IV/10 (2008)] Individual Recordings: Hilliard - Morimur And both hands get to play the beautiful accompaniment. Arrangements/Transcriptions of Bach's use of the Chorale Melody: Richard Yardumian (1917-1985): That’s because the lines by composer and poet Heinrich Albert, published in 1641, form the basis for the text of the chorale Jesu, meine Freude, meines Herzens Weide.
[69], The New Bach Edition (Neue Bach-Ausgabe, NBA) published the motet in 1965, edited by Konrad Ameln, with critical commentary published in 1967. By the time Bach started to compose his motets in the 1710s or 1720s along the principles of these older compositions, motets were regarded as an antiquated genre. Jesu, meine Freude has been recorded more than 60 times, mostly in combination with other motets by Bach. Use of the Chorale Melody by other composers: Georg Philipp Telemann (1681-1767): [29] The last movement has exactly the same music to the different text of the last stanza, creating a frame which encloses the whole work:[29], The second movement begins with excerpts from the Epistle to the Romans with "Es ist nun nichts Verdammliches an denen, die in Christo Jesu sind" (Now there is nothing damnable in those who are in Christ Jesus). Abbreviations used for the Chorales 56 (1973), Barrie Cabena: (b 1933) Jesu, meine Freude, Chorale Cantata for chorus, strings in E minor, 22 Jan 1828, facsimile, with introduction by O. Jonas (Chicago, 1966), ed. Dietel studied with Bach and also did a lot of copying for him.
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