Choral Prelude “Ich ruf zu Dir, Herr Jesu Christ,” BWV About the Work. Bach/ Busoni Composer: Bach/Busoni. Past Performances. Washington Performing. Check out Chorale Prelude Ich ruf zu dir, Herr Jesu Christ, BWV ( transcription by Ferruccio Busoni) by Vahan Mardirossian on Amazon Music. Stream. Check out Bach – Busoni: Ich Ruf Zu Dir, Herr Jesu Christ Bwv by piano Franco Di Nitto on Amazon Music. Stream ad-free or purchase CD’s and MP3s now.

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There are at least 3 works by J. Could anyone tell me if these are all variants of one piece arranged for organ or voice or if they’re separate works? Thomas Radleff wrote March 20, BWV is the Choralvorspiel for organ on the same theme: This piece is also part of the Neumeister Sammlung which has been published by Wolff in ; the new discovered Bachworks in it reach from BWV to I guess it is this one which has been numbered in the last years.

This cantata consists of only arias between the opening and the closing choral movements, and no recitatives! On this Sunday, the congregation sang this chorale.

Its text somewhat reflects the Gospel, Luke 6: The details of the recordings of this cantata can be found in the following page of the Bach Cantatas Website: The fourth, by Ramin, is the first recording of this cantata.

There are also some recordings of individual movements: Have we had a recording of the aria for alto, and we could assemble another complete recording -: I find that transcriptions of this kind almost always illuminate the music from a new and fresh angle.

I hope to see many of you participating in the discussion. Francis Browne wrote June 24, As background to this week’s cantata there are two points about him which may be of interest. In he was involved in controversy with Luther over what Luther termed antinomianism Greek anti,”against”; nomos,”law”the doctrine that faith in Christ frees the Christian from obligation to observe the moral law as set forth in the Old Testament.

Some of this concern with faith can be seen in our cantata, though the hymn predates the controversery. Further details about Johann Agricola from a Lutheran perspective can be found at: Johann Agricola is the subject of one of Robert Browning’s self-revealing, dramatic monologues “Johannes Agricola in Meditation”.

The text of Browning’s highly unsympathetic portrait and some discussion of the literary and religious background can be found at: Thanks for the tips for further reading Dutch translation of this hymn in three verses by J.

Cantata BWV – Discussions Part 1

Liedboek voor de Kerken, nr. I have no theological expertise but to understand fully Bach’s cantatas it seems to me that the very least we must do is to try to understand as sympathetically as possible the religious meaning of the text. When Bach made use of Agricola’s hymn it had presumably been used in worship for almost two hundred years and, as your p.

The hymn therefore clearly expresses something valuable and meaningful to many communities and individuals. This led me to try to find out more about Agricola and so also about the antinomian controversy, and I thought this might be of some interest also to some other members of the list. Browning’s portrayal of Agricola- superb poetry though it is – did so blatantly unfair that there is need of some balance tuf such perhaps as Bach’s music provides in the way it conveys and enriches the meaning of the hymn.


I wrote earlier that “some of this concern with faith can be seen in our cantata” nwv you asked ” where do you see traces of his antinomianism”. There is of course no surprise in jeau Lutheran hymn being concerned with faith and perhaps antinomianism can be seen as an exaggeration of elements in Luther ‘s own thought.

The passages I had in mind were in the second movement: Es kann niemand ererben No man can inherit Noch erwerben nor acquire Durch Werke deine Gnad, through his works your grace These sentiments are not antinomian and would be acceptable to most Christians -but if given a onesided chrrist might lead to antinomianism.

What Bach made of this hymn – how his music interprets the ruff -is a topic that interests me and to which I hope to return, and I would be grateful for any illumination that may be provided by those who have far more expertise in theology and music than I have.

Thomas Braatz wrote June 27, I am receiving all sorts of mixed messages on the chorale text and melody upon which this cantata is based.

First of all, there are a number of Chrlst Agricolas associated with music not to mention Agricolas with other first names: The most famous is: Johann Agricola [Pauer]a music publisher appointed by the court in Innsbruck, Austria.

He published 2 editionsof the Innsbruck Hymnal Innsbrucker Gesangbuch which contained 69 hymns, 22 of which were published here for the first time. Johann Agricola the antinomianist considered by some to be the author of the chorale text on which BWV is based, is very likely not the author of this chorale. To trace the musical and textual footprints left by this Johann Agricola we need to turn to Sigmund Hemmel?

These settings represented the standard repertoire of the Stuttgart Courtly Choir.

Choral Prelude “Ich ruf zu Dir, Herr Jesu Christ,” BWV 639

Among the psalm texts were those by Hedr. Aberlin 60 hymnsJ. Dachser 30and S. Salminger 8 all of whom were from Augsburg. Other sources were not represented in such great numbers: The reformed church was represented by only 30 psalm chorales and from the Lutheran region only 23 among which the contributors were M.

Luther 8H. Sachs 8A. Agricola 1J.

Dietrich 1J. Gramann 1 remember hcrist Jonas 1 and B. It is probable that Hemmel accepted the melodies along with the texts for those hymns supplied by M. The MGG, the source for the above, also reports the following: These include texts by J.

Kreuziger do you remember her?

Jesy, among others, all of whom Luther asked for their contributions for this new style of evangelical church hymn. Luther also included older chorale melodies to which he chrisy a German text. Luther controlled the selection of texts and melodies in these hymnals, but as time went on, he began removing the ones he did not like because they simply were not good enough: Between the editions of andthe chorales by J. I chhrist a German hymnal published in which lists this chorale as no. He was born c.


He died from the plague. His authorship of the chorale text is questionable. This is a companion volume to the standard hymnal intended for use by organists in North Germany. The melody, the text of which is not yet known, could be either secular or sacred in origin. The chorale melody is definitely not by Johann Agricola jedu it appears possibly to be even secular rather than sacred in origin, a contrafact that still remains to be traced to its true origin.

Francis Browne wrote June 27, Antinomianism and other theological controversies of the reformation have great interest for me for non-musical reasons. But my interest in the text of this week’s cantata is rather more narrowly focussed: My interest is in what Bach’s music adds to such a text, not some speculative, highly questionable deduction of his own theological views. Dick Wursten wrote June 27, I chrizt only quote my source that attributes this hymn to him: He writes in ‘compendium’ to the ‘Liedboek voor de Kerken ‘ Dutch Hymnalmy translation: It was only because of the findings of the famous hymnologist Philipp Wackernagel in the 19 th century that his authorship was firmly established.

He found it printed on a paper, from before ihc the title: Eysleben des Herzogs Hans von Sachsen Prediger “. Eysleben, preacher to the Duke Hans of Saxony]. At that icu this preacher was identical with Johann Agricola. Further I found that in Agricola published a hymn-book of his own Sangbuchlein.

I don’t know whether someone has access to this, because this hymn might be in it. As I am still convinced until further teaching shows The same source as I quoted above but other author: Mudde suggests that the ‘Wittenberger Kreis ‘ worked in the tradition of the ‘ Meistersinger ‘, that is to say: The words and the tune were composed at approx.

To mention a few names compare Thomas Braatz list: Isn’t amazing what beautfiul hymns and melodies in that rather short period were created?! Evergreens, known at least by all organist from the Bach- choralvariatons and choral-predudes. If Johann Agricola also belonged to this ‘Kreis’ circle why shouldnot he also be the author of the beautiful melody The same goes for Anonymous if he is the author. The Antinomianism-fight started as a reaction to Phil.

Melanchthons thesisthat the preaching of the gospel saved by grace by faith alone had to be preceded by the preaching of the LAW to cause awareness of sin and a readiness to penitence AND the same law 10 commandments had to be implemented again after the preaching of this gospel of grace to serve as a guidance for the new life.

Agricola found this too much of the good Luther at first also had some difficulties with this Melanchtonian stressing of the law. This conflict was finally ‘settled’ what an overstatement by the lutheran Formula Concordiae of