An Wasserflüssen Babylon: Difference between revisions
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[[File:Martin Bucer by German School.jpg|thumb|180px|[[Martin Bucer]], German Lutheran reformer in [[Strasbourg]]]] |
[[File:Martin Bucer by German School.jpg|thumb|180px|[[Martin Bucer]], German Lutheran reformer in [[Strasbourg]]]] |
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The Lutheran hymn "An Wasserflüssen Babylon" is a closely paraphrased versification of [[Psalm 137]], "By the rivers of Babylon", a lamentation for Jerusalem, exiled in Babylon. Its text and melody, [[Zahn number]] 7663, first appeared in [[Strasbourg]] in 1525 in Wolf Köpphel's ''Das dritt theil Straßburger kirchenampt''—the third part of the Lutheran service in Strasbourg—which is now lost.<ref name="Leahy">{{harvnb|Leahy|2011|pages=37–38, 53}}</ref><ref>{{harvnb|Zahn|1891}}</ref>As instructed by the Lutheran reformer [[Martin Bucer]], the book contained a [[Agenda (liturgy)|liturgical agenda]] and [[metre (hymn)|rhyming psalms]].<ref>{{harvnb|Greschat|2004|pages=55–64}}</ref><ref name="Leahy"/> |
The Lutheran hymn "An Wasserflüssen Babylon" is a closely paraphrased versification of [[Psalm 137]], "By the rivers of Babylon", a lamentation for Jerusalem, exiled in Babylon. Its text and melody, [[Zahn number]] 7663, first appeared in [[Strasbourg]] in 1525 in Wolf Köpphel's ''Das dritt theil Straßburger kirchenampt''—the third part of the Lutheran service in Strasbourg—which is now lost.<ref name="Leahy">{{harvnb|Leahy|2011|pages=37–38, 53}}</ref><ref>{{harvnb|Zahn|1891}}</ref>As instructed by the Lutheran reformer [[Martin Bucer]], the book contained a [[Agenda (liturgy)|liturgical agenda]] and [[metre (hymn)|rhyming psalms]].<ref>{{harvnb|Greschat|2004|pages=55–64}}</ref><ref name="Leahy"/> |
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The text and melody of "An Wasserflüssen Babylon" are attributed to the organist [[Wolfgang Dachstein]].<ref name="Leahy"/><ref>{{harvnb|Terry|1921|pages=101-103}}</ref><ref>{{harvnb|Julian|1907}}</ref> The hymn was rapidly distributed—it was printed in [[Martin Luther]]'s 1545 ''Babstsches Gesangbuch''<ref>{{harvnb|Krummacher|2001|pages=194–195}}</ref>—and spread to most Lutheran hymnbooks by central Germany.<ref name="Leahy"/> The same melody has also appeared with the text of [[Paul Gerhardt]]'s [[Passion of Jesus|Passion]] hymn "[[Ein Lämmlein geht und trägt die Schuld]]" in the Protestant hymnal ''[[Evangelisches Gesangbuch]]'' as EG 83.<ref name="Axmacher" /><ref name="Württemberg" /> |
The text and melody of "An Wasserflüssen Babylon" are attributed to the organist [[Wolfgang Dachstein]].<ref name="Leahy"/><ref>{{harvnb|Terry|1921|pages=101-103}}</ref><ref>{{harvnb|Julian|1907}}</ref> The hymn was rapidly distributed—it was printed in [[Martin Luther]]'s 1545 ''Babstsches Gesangbuch''<ref>{{harvnb|Krummacher|2001|pages=194–195}}</ref>—and spread to most Lutheran hymnbooks by central Germany.<ref name="Leahy"/> The same melody has also appeared with the text of [[Paul Gerhardt]]'s [[Passion of Jesus|Passion]] hymn "[[Ein Lämmlein geht und trägt die Schuld]]" in the Protestant hymnal ''[[Evangelisches Gesangbuch]]'' as EG 83.<ref name="Axmacher" /><ref name="Württemberg" /> |
Revision as of 12:14, 18 March 2018
"An Wasserflüssen Babylon" | |
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Lutheran hymn | |
Text | Wolfgang Dachstein |
Language | German |
Based on | Psalm 137 |
Published | 1525 |
"An Wasserflüssen Babylon" (By the rivers of Babylon) is a Lutheran hymn with text by Wolfgang Dachstein which paraphrases Psalm 137. It appeared first in Strasbourg in 1525. The hymn was the basis for organ works of the Baroque, namely by Johann Adam Reincken and Johann Sebastian Bach. Bach copied Reincken's work when he studied with him as a boy, which is among his earliest manuscripts.
The melody became known with the text of a Passion hymn by Paul Gerhardt, "Ein Lämmlein geht und trägt die Schuld" which is part of the Protestant hymnal Evangelisches Gesangbuch.
History and context
This section provides insufficient context for those unfamiliar with the subject.(March 2018) |
The Lutheran hymn "An Wasserflüssen Babylon" is a closely paraphrased versification of Psalm 137, "By the rivers of Babylon", a lamentation for Jerusalem, exiled in Babylon. Its text and melody, Zahn number 7663, first appeared in Strasbourg in 1525 in Wolf Köpphel's Das dritt theil Straßburger kirchenampt—the third part of the Lutheran service in Strasbourg—which is now lost.[2][3]As instructed by the Lutheran reformer Martin Bucer, the book contained a liturgical agenda and rhyming psalms.[4][2]
The text and melody of "An Wasserflüssen Babylon" are attributed to the organist Wolfgang Dachstein.[2][5][6] The hymn was rapidly distributed—it was printed in Martin Luther's 1545 Babstsches Gesangbuch[7]—and spread to most Lutheran hymnbooks by central Germany.[2] The same melody has also appeared with the text of Paul Gerhardt's Passion hymn "Ein Lämmlein geht und trägt die Schuld" in the Protestant hymnal Evangelisches Gesangbuch as EG 83.[8][9]
Miles Coverdale provided an early English translation in the Tudor Protestant Hymnal "Ghostly Psalms and Spiritual Songs," 1539.[10][11]
Text
The Lutheran text of Wolfgang Dachstein first appeared in Strasbourg in 1525 in Wolf Köpphel's Das dritt theil Straßburger kirchenampt.[2] The early Tudor verses from the "Ghostly Psalms and Spiritual Songs," 1539, originate in Myles Coverdale, Bishop of Exeter, and are Lutheran versifications that Coverdale wrote in continental Europe while in exile from England.[12][11]
German text |
English translation |
1. An Wasserflüssen Babylon, |
At the ryvers of Babilon, |
2. Die uns gefangen hielten lang |
They that toke us so cruelly, |
3. Wie sollen wir in solchem Zwang |
To whome we answered soberly: |
4. Ja, wenn ich nicht mit ganzem Fleiss, |
Yee, above all myrth and pastaunce, |
5. Die schnöde Tochter Babylon, |
O thou cite of Babilon, |
Musical settings
In 1544 Georg Rhau composed two settings for several parts for his collection Neue Deutsche Geistliche Gesänge für die gemeinen Schulen.[14] Sigmund Hemmel used the text in the 1550s in his four-part setting of the psalms, with the cantus firmus in the tenor, which was printed in 1569.[14]
Johann Hermann Schein published his four-part setting of "An Wasserflüssen Babylon" in 1627,[15][citation needed] a setting that was republished in p. 706 of Vopelius's Neu Leipziger Gesangbuch.[2][16][citation needed]
Heinrich Schütz published a four-part setting of "An Wasserflüssen Babylon", SWV 242, in his Becker Psalter, Op. 5, 1628.[1][17][citation needed]
The melody was frequently used for organ settings in the 17th century, such as a chorale fantasia by the Hamburg organist Johann Adam Reincken. The extended work has 320 measures, and takes about 19 minutes to perform. Every line is composed differently, in the style of the North German organ school. When the young Johann Sebastian Bach visited Reincken in 1701 to study with him, he copied the work.[14][failed verification] Bach's copy, in organ tablature, was rediscovered in 2005 at the Herzogin Anna Amalia Bibliothek in Weimar. This copy is one of two of Bach's oldest extant manuscripts.[18]
Bach wrote a setting the third of his Great Eighteen Chorale Preludes (BWV 653).[19][20]
An Wasserflüssen Babylon, BWV 653, is a paraphrase of Psalm 137, a sorrowful lament of the Israelites, exiled in Babylon. Bach's two monumental Passions are heard in the closing choruses in the same kind of melancholic dance-like music as the third chorale of the "Great Eighteen". After bar 48, the musical development, particularly the chromaticism, becomes more concentrated, creating a mood of pathos. The use of the reprise at the start of the ritornello, without any variants, is unusal and might have been unintentional during the preparation of the manuscript. Stinson's describes Bach's improvised performance in 1720 at the organ loft of St. Catherine's Church, Hamburg with a well-known comment of the 97-year-old Reinken quoted in The New Bach Reader of David, Mendel & Woolf: "I thought that this art was dead, but I see that in you it still lives." The coda in Bach's BWV 653 shares many compositional features of some of Reinken's fantasias (see the two musical excerpts appended); as Stinson suggests, this might have been some form of musical homage to Reinken. In Bach's closing pedal point in the lower alto manual, the upper manual develops the two-part ritornello accompanied during 4 bars of pedal; in the next 2 bars, there is a double pedal before the fermata; during the ritornello motives of the upper manual, the tension is ingeniously and peacefully resolved through contrary motion in rising and falling scales in the middle voices, ruffled only by a passing major seventh.[20]
Although BWV 653 was composed in Leipzig within the traditions of Thuringia, Bach's contemplative mood is far removed from his earlier improvisatory compositions. As Geck (2006) recounts, in 1720 Bach is known to have extemporised at Hamburg for almost half an hour at the organ in front of the nonagenerian Reinken, who stated that, "I thought that art has died out, but I see that it lives on in you." By contrast, the style of Bach's later chorale prelude is understated with its alto cantus firmus subtly embellished.[21]
Bach also composed a four-part setting, BWV 267, which appeared around 1735 in the Dietel manuscript.[22][23] That harmonisation is found as well in G major and in A-flat major in 18th-century chorale collections, both as "An Wasserflüssen Babylon" and as "Ein Lämmlein geht und trägt die Schuld".[23] For instance, its publication in the Breitkopf edition of the 1780s has it as No. 5 in G major under the former title and as No. 308 in A-flat major under the latter title.[23]
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"An Wasserflüssen Babylon", SWV 242, in Heinrich Schütz's Becker Psalter, 1628: cantus (p. 560) and verses (p. 564).[1]
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Johanniskirche in Lüneburg where Böhm was principal organist and Bach studied music
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Portrait of Johann Adam Reincken, 1674
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Autograph manuscript from start of Bach's An Wasserflüssen Babylon, BWV 653
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First page of Bach's BWV 653b with two manuals and a double organ (doppio pedale)
Further reading
- Eduard Emil Koch: Geschichte des Kirchenlieds und Kirchengesangs der christlichen, insbesondere der deutschen evangelischen Kirche. Vol. 8: Zweiter Haupttheil: Die Lieder und Weisen. Stuttgart: Belser, 1876 (3rd edition), pp. 526–528. Template:Lang icon
Notes
- ^ a b c Schütz 1628
- ^ a b c d e f Leahy 2011, pp. 37–38, 53
- ^ Zahn 1891
- ^ Greschat 2004, pp. 55–64
- ^ Terry 1921, pp. 101–103
- ^ Julian 1907
- ^ Krummacher 2001, pp. 194–195
- ^ Axmacher, Elke; Fischer, Michael (2002). "83 – Ein Lämmlein geht und trägt die Schuld". In Hahn, Gerhard; Henkys, Jürgen (eds.). Liederkunde zum Evangelischen Gesangbuch. Göttingen: Vandenhoeck & Ruprecht. pp. 60–70. ISBN 978-3-52-550326-3.
{{cite book}}
:|work=
ignored (help) - ^ "Ein Lämmlein geht und trägt die Schuld" (in German). Württembergische Landeskirche. Retrieved 24 February 2018.
- ^ Coverdale 1846, pp. 571–572
- ^ a b Terry, Charles Sanford. "Bach's Chorals. Part III: The Hymns and Hymn Melodies of the Organ Works". oll.libertyfund.org. Retrieved 24 February 2018.
- ^ Coverdale 1846, pp. 571–572
- ^ Modernised orthography, while the original wording is found in Philipp Wackernagel: Das deutsche Kirchenlied von der ältesten Zeit bis zu Anfang des 17. Jahrhunderts. Vol. III. Teubner, 1870, No. 135 (p. 98)
- ^ a b c "An Wasserflüssen Babylons". The Scroll Ensemble. Retrieved 3 March 2018.
- ^ Johann Hermann Schein (1627). Cantional, Oder Gesangbuch Augspurgischer Confession. Leipzig: Schein, pp. 325–327
- ^ Gottfried Vopelius (1682). Neu Leipziger Gesangbuch. Leipzig: Christoph Klinger, pp.706–709
- ^ Schütz 2013
- ^ "Earliest Music Manuscripts by Johann Sebastian Bach Discovered". Klassik-Stiftung. 31 August 2006. Retrieved 3 March 2018.
- ^ Williams 2003, pp. 347–351
- ^ a b Stinson 2001
- ^ Geck 2006, pp. 507–509
- ^ D-LEb Peters Ms. R 18 (chorale collection Dietel) at Bach Digital website. 6 August 2017.
- ^ a b c Luke Dahn. BWV 267 at www
.bach-chorales .com. 2017.
References
- Axmacher, Elke; Fischer, Michael (2002), "83 – Ein Lämmlein geht und trägt die Schuld", in Hahn, Gerhard; Henkys, Jürgen (eds.), Liederkunde zum Evangelischen Gesangbuch (in German), vol. 5, Göttingen: Vandenhoeck & Ruprecht, pp. 60–70, ISBN 978-3-52-550326-3
- Bach, J.S. (1986), Bighley, Mark S. (ed.), The Lutheran Chorales in the Organ Works of J.S. Bach, Concordia Publishing House, ISBN 0570013356
{{citation}}
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(help) - Bach, J.S. (1999), David, Hans T.; Mendel, Arthur; Wolff, Christoph (eds.), The New Bach Reader: A Life of Johann Sebastian Bach in Letters and Documents, W.W. Norton, ISBN 0393319563
{{citation}}
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(help) - Bach, J.S. (2006), Maul, Michael; Wollny, Peter (eds.), Weimarer Orgeltabulatur. Die frühesten Notenhandschriften Johann Sebastian Bachs sowie Abschriften seines Schülers Johann Martin Schubart. Mit Werken von Dietrich Buxtehude, Johann Adam Reinken und Johann Pachelbel, Documenta musicologica, Bärenreiter Facsimile, vol. II/39, translated by J. Bradford Robinson on pp. XXI-XXXIII, Bärenreiter, ISBN 9783761819579
- Beißwenger, Kirsten (2016), "Other Composers", in Leaver, Robin A (ed.), The Routledge Research Companion to Johann Sebastian Bach, translated by Emerson Morgan, Taylor & Francis, p. 237–264, ISBN 1315452804
- Coverdale, Miles (1846), "Ghostly Psalms and Spiritual Songs", in Pearson, George (ed.), Remains of Myles Coverdale, Parker Society, vol. 14, Cambridge University Press, pp. 571–572
- Greschat, Martin (2004), "A Preacher in Strasbourg", Martin Bucer: A Reformer and His Times, translated by Stephen E. Buckwalter, Westminster John Knox Press, pp. 47–86, ISBN 0-664-22690-6
- Geck, Martin (2006), Johann Sebastian Bach: Life and Work, translated by John Hargraves, Houghton Mifflin Harcourt, ISBN 0151006482
- Honders, Casper (1985), Over Bachs schouder... (in Dutch), Niemeijer, ISBN 9060623002
- Julian, John (1907), A Dictionary of Hymnology, Dover Publications, pp. 277–278
- Krummacher, Christoph (2001), "Leipziger Gesangbuch 1545", in Herbst, Wolfgang (ed.), Wer ist wer im Gesangbuch?, Handbuch Zum Evangelischen Gesangbuch (in German), vol. 2, Vandenhoeck & Ruprecht, pp. 194–195, ISBN 3525503237
- Küster, Konrad (1996), "Musik an der Schwelle des Dreißigjährigen Krieges: Perspektiven der Psalmen Davids von Heinrich Schütz", Schütz-Jb, 18: 39–51
- Leahy, Anne (2011), "An Wasserflüssen Babylon", J. S. Bach's "Leipzig" Chorale Preludes: Music, Text, Theology, Contextual Bach Studies, vol. 3, Scarecrow Press, pp. 37–58, ISBN 0810881810
- Rifkin, Joshua; Linfield, Eva; McCulloch, Derek; Baron, Stephen (2001). "Schütz, Heinrich". Grove Music Online (8th ed.). Oxford University Press. ISBN 978-1-56159-263-0. Retrieved 12 March 2018.
- Schütz, Heinrich (1628), "Der CXXXVII. Psalm", Psalmen Davids: Hiebevorn in Teutzsche Reimen gebracht durch D. Cornelium Beckern (in German), Freiberg: Georg Hoffman, pp. 560–564. RISM 00000990058712
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at position 3 (help)CS1 maint: postscript (link) - Snyder, Kerala Y.; Johnson, Gregory S. (2001). "Schein, Johann Hermann". Grove Music Online (8th ed.). Oxford University Press. ISBN 978-1-56159-263-0. Retrieved 12 March 2018.
- Spagnoli, Gina (1993), "Dresden at the Time of Heinrich Schütz", in Price, Curtis (ed.), The Early Baroque Era: From the late 16th century to the 1660s, Macmillan, pp. 164–184
- Stinson, Russell (2001), J.S. Bach's Great Eighteen Organ Chorales, Oxford University Press, p. 78–80, ISBN 0-19-516556-X
- Stinson, Russel (2012), J. S. Bach at His Royal Instrument: Essays on His Organ Works, Oxford University Press, p. 16, ISBN 019991723X
- Terry, Charles Sanford (1921), Bach's Chorals, vol. III, pp. 101–104
- Trocmé-Latter, Daniel (2015), "Abolishing the Mass", The Singing of the Strasbourg Protestants, 1523-1541, St Andrews Studies in Reformation History, Ashgate, pp. 43–114, ISBN 9781472432063
- Varwig, Bettina (2011), Histories of Heinrich Schütz, Cambridge University Press, ISBN 1139502018
- Williams, Peter (1980), The Organ Music of J.S. Bach, Volume II: BWV 599–771, etc., Cambridge Studies in Music, Cambridge University Press, ISBN 0-521-31700-2
- Williams, Peter (2003), The Organ Music of J. S. Bach (2nd ed.), Cambridge University Press, ISBN 0-521-89115-9
- Yearsley, David (2009), "Bach Discoveries", Early Music, 37: 489–492
- Yearsley, David (2012), Bach's Feet: The Organ Pedals in European Culture, Cambridge University Press, pp. 94–97, ISBN 1139500112
- Zahn, Johannes (1891), "7663", Die Melodien der deutschen evangelischen Kirchenlieder (in German), vol. IV, Gütersloh: Bertelsmann, pp. 508–509
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External links
- An Wasserflüssen Babylon, Opella nova (Geistliche Konzerte, Leipzig, 1618) by Johann Hermann Schein: Scores at the International Music Score Library Project
- Johann Hermann Schein / An Wasserflüssen Babylon / aus: Opella Nova (1618), Teil 1 / 1617 Carus
- An Wasserflüssen Babylon, Becker Psalter, Op.5 (Psalmen Davids, Freiberg, 1628) by Heinrich Schütz: Scores at the International Music Score Library Project
- An Wasserflüssen Babylon, P.17, An Wasserflüssen Babylon, P.18, An Wasserflüssen Babylon, P.20 by Johann Pachelbel: Scores at the International Music Score Library Project
- An Wasserflüssen Babylon (Complete Organ Works, ed. Klaus Beckmann, Breitkopf & Härtel, 1974) by Johann Adam Reincken: Scores at the International Music Score Library Project
- An Wasserflüssen Babylon, BWV 267, BWV 653, by Johann Sebastian Bach: Scores at the International Music Score Library Project
- Zu Fassungen der Melodie in Elsässischen Gesangbüchern colmarisches.free.fr
- Glebe, Karl ; Heinermann, Otto: / Vorspiele zum deutsch-evangelischen Gesangbuch für Orgel dzb.de
- G. W. Fink: No. 24 Allgemeine musikalische Zeitung, Volume 38, 1836