An Wasserflüssen Babylon
"An Wasserflüssen Babylon" | |
---|---|
Zahn 7663 | |
Text | Wolfgang Dachstein |
Language | German |
Based on | Psalm 137 |
Published | 1525 |
"An Wasserflüssen Babylon" (By the rivers of Babylon) is a Lutheran hymn by Wolfgang Dachstein, which was first published in Strasbourg in 1525. The text of the hymn is a paraphrase of Psalm 137. Its singing tune, which is the best known part of the hymn and Dachstein's best known melody, was popularised as the chorale tune of Paul Gerhardt's 17th-century Passion hymn "Ein Lämmlein geht und trägt die Schuld". With this hymn text, Dachstein's tune is included in the Protestant hymnal Evangelisches Gesangbuch.
Several vocal and organ settings of the hymn "An Wasserflüssen Babylon" have been composed in the 17th and 18th centuries, including short four-part harmonisations by Johann Hermann Schein, Heinrich Schütz and Johann Sebastian Bach. In the second half of the 17th century, Johann Pachelbel, Johann Adam Reincken and Bach's cousin, Johann Christoph, arranged settings for chorale preludes. Reincken's setting of "An Wasserflüssen Babylon" was elaborate and of great length; with one of Pachelbel's shorter settings as a chorale prelude, it forms the earliest extant transcriptions of Bach, copied on a 1700 organ tablature in Lüneburg when he was still a youth; remarkably, they were only unearthed in Weimar in 2005.
In 1720, at a celebrated organ concert in
History and context
"An Wasserflüssen Babylon" is a Lutheran hymn written in 1525 and attributed to
Wolfgang Egeloph Dachstein was born in 1487 in Offenburg in the Black Forest. In 1503 he became a fellow student with Martin Luther at the University of Erfurt. He entered the Dominican monastic order in around 1520 in Strasbourg, where he started a collaboration with Matthias Greiter, a friend and contemporary. Greiter was born in 1495 in Aichach, near Augsburg in Bavaria, where he attended a Latin school, before enrolling in theology at the University of Freiburg in 1510 and becoming a monk in Strasbourg in 1520.[8][9][10][11][12]
During the
Dachstein's hymn "An Wasserflüssen Babylon" was rapidly distributed—it was printed in Luther's 1545 Babstsches Gesangbuch
Text
The Lutheran text of Dachstein first appeared in 1525.
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, |
Hymn tune
Below is the 1525 hymn tune by Wolfgang Dachstein.
Musical settings
16th century
Lupus Hellinck's four-part setting of "An Wasserflüssen Babylon" was published in 1544.[30][31] The treatment is motet-like: the first part of the hymn tune is presented by the soprano voice, however adorned with inserted supplemental melodies, after which the tenor voice presents the rest of the hymn tune, with similar embellishments.[32][33] Another four-part setting of the hymn, likewise first published in Georg Rhau's Newe Deudsche Geistliche Gesenge, is by Benedictus Ducis .[34][35][36][37] A three-part setting by this composer had already been published in 1541.[38] The 115 Guter newer Liedlein collection, published in 1544, contains an extended choral setting by Johannes Wannenmacher : in this version, each stanza of the hymn is set for a different group of singers, from three to six voices.[39][40] Wannenmacher's two-part setting (bicinium) of the hymn was published in 1553.[41][42]
Sigmund Hemmel used the text in the 1550s in his four-part setting, with the cantus firmus in the tenor: Der gantz Psalter Davids, wie derselbig in teutsche Gesang verfasse was printed in 1569.[43]
17th century
A native of Nuremberg, Hans Leo Hassler was taught by Andrea Gabrieli in Venice, where he excelled as a keyboard player and consorted with his younger uncle, Giovanni Gabrieli. Hassler's 4-part setting of "An Wasserflüssen Babylon" was composed in 1608.[44]
The hymn also inspired organ compositions in Northern Germany. Organ
The 17th-century musical style of the
Johann Christoph Bach was born in
Born probably in 1643, Reincken was the natural successor to Scheidemann as organist at the
The composer and organist Johann Pachelbel (1653–1707), born in
18th century
The young
Reincken, whose celebrated chorale fantasia had already acquired a reputation, repaid the debt to Bach. In Stinson (2001) there is a description of a concert in 1720, when Bach extemporised for "almost half an hour" on An Wasserflüssen Babylon at the organ loft of St. Catherine's Church, Hamburg. As recorded in his obituary, Bach "travelled to Hamburg, and allowed himself, in front of the Magistrat and many sophisticated people of the City, to be listened to for more than two hours on the beautiful organ at the Catherinenkirche with general amazement. The old organist at this church, Johann Adam Reincken, who then was almost a hundred years old, listened to him with special pleasure and particularly complimented him on the chorale "An Wasserflüssen Babylon" which our Bach treated and improvised for almost half an hour in a different way, very spaciously, as the brave ones among the Hamburg organists formerly used to play during the Saturday vespers. Reincken complimented him as follows: "I thought this kind of art had died out but I see that it is still alive in you"."[81][82][78]
Bach composed his chorale prelude "An Wasserflüssen Babylon," BWV 653, as the third chorale of the Great Eighteen Chorale Preludes It was written in Leipzig, around 1739–1742, in his full maturity. There were also two earlier settings composed in Bach's second period at Weimar in the 1710s, one in five parts with a double-pedal.[83][84] During his second period in Weimar, Bach had also envisaged expanding his collection of 46 chorale preludes in the miniaturist Orgelbüchlein. Empty manuscript pages were allocated for the projected 164 chorale preludes; as with "An Wasserflüssen Babylon," only the title appears.[85]
In BWV 653 the same melancholic sarabande-like music of the chorale prelude can be heard in Bach's closing movements of the monumental Passions: the increasing chromaticism and passing dissonances create a mood of pathos.[82] The mournful cantus firmus of BWV 653 is heard in the tenor voice en taille, accompanied by the two higher voices of the imitative ritornello with its steady crotchets and quavers in the pedals. The coda of BWV 653 shares some compositional features of Reincken's chorale prelude: the ornamental descending flourish at the end of Reincken's coda
can be compared with Bach's closing coda of BWV 653 with scales in
As Stinson writes, "It is hard not to believe that this correspondence represents an act of homage."[82] Despite being composed in Leipzig within the traditions of Thuringia, however, Bach's contemplative "mesmerising" mood is far removed from his earlier improvisatory compositions in Hamburg and Reincken's chorale fantasia: the later chorale prelude is understated, with its cantus firmus subtly embellished.[86][87]
There was also a four-part harmonisation of the chorale,
19th century
The German composer of opera—
Notes
- ^ a b c d e Leahy 2011, pp. 37–38, 53.
- ^ Terry 1921, pp. 101–103.
- ^ a b Julian 1907.
- ^ Stinson 2001, p. 78
- ^ a b c d Zahn 1891.
- ^ Zahn 1893, p. 7
- ^ Trocmé-Latter 2015, pp. 255–265
- ^ Weber 2001, pp. 70–71
- ^ Brusniak 2001, pp. 121–122
- ^ Fornaçon, Siegfried 1957, p. 465
- ^ Müller, Hans-Christian 1966, pp. 41–42
- ^ Trocmé-Latter 2015, pp. 28–32, 90–96, 201
- ^ Trocmé-Latter 2015, pp. 28–32, 90–96, 201, 233–234.
- ^ Brusniak 2001, pp. 121–122.
- ISBN 978-1-56159-263-0.
- ISBN 978-1-56159-263-0.
- ^ Weber 2001, pp. 70–71.
- ^ Müller, Hans-Christian 1966, pp. 41–42.
- ^ Fornaçon, Siegfried 1957, p. 465.
- ^ Hopf 1946, pp. 1–16.
- ^ Krummacher 2001, pp. 194–195.
- ^ Matut 2011, II: p. 104.
- ^ a b Werner 2016, p. 205.
- ^ Axmacher & Fischer 2002.
- ^ Matut 2011, I: pp. 50–55, 64; II: pp. 101–108.
- ^ Terry 1921, pp. 101–102.
- ^ Coverdale 1846, pp. 571–572.
- ^ Trocmé-Latter 2015, pp. 237–239.
- ^ 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)
- BnF 14808371c
- ISBN 978-1-56159-263-0. Retrieved 10 April 2018.
- ^ An Wasserflüssen Babylon, W162, by Lupus Hellinck: Scores at the International Music Score Library Project
- ^ Winterfeld 1843–1847, I, p. 197 and Appendix 19.
- ^ Newe Deudsche Geistliche Gesenge by Georg Rhau: Scores at the International Music Score Library Project
- ^ An Wasserflüssen Babylon a 4v by Benedictus Ducis in the Choral Public Domain Library (ChoralWiki)
- ISBN 978-1-56159-263-0. Retrieved 8 April 2018.
- ISBN 978-1-56159-263-0. Retrieved 10 April 2018.
- ^ An Wasserflüssen Babylon a 3v by Benedictus Ducis in the Choral Public Domain Library (ChoralWiki)
- ^ 115 Guter newer Liedlein published by Johannes Ott, An Wasserflüssen Babylon a 7 by Johannes Wannenmacher: Scores at the International Music Score Library Project
- ^ 115 guter neuer Liedlein published by Hans Ott in the Choral Public Domain Library (ChoralWiki)
- ^ An Wasserflüssen Babylon a 2 by Johannes Wannenmacher: Scores at the International Music Score Library Project
- ^ An Wasserflüssen Babylon by Johannes Wannenmacher in the Choral Public Domain Library (ChoralWiki)
- ISBN 978-1-56159-263-0. Retrieved 10 April 2018.
- ISBN 978-1-56159-263-0. Retrieved 10 April 2018.
- ^ ISBN 978-1-56159-263-0. Retrieved 10 April 2018.
- ISBN 978-1-56159-263-0. Retrieved 10 April 2018.
- ^ Johann Hermann Schein (1627). "Cantional, Oder Gesangbuch Augspurgischer Confession" (in German). Leipzig: Schein. pp. 325–32.
- Neu Leipziger Gesangbuch. Leipzig: Christoph Klinger, pp.706–709
- ISBN 978-1-56159-263-0. Retrieved 12 March 2018.
- ^ Schütz 2013
- ISBN 978-1-56159-263-0. Retrieved 10 April 2018.
- ISBN 978-1-56159-263-0. Retrieved 10 April 2018.
- ^ Rose 2017, pp. 228–229
- ^ Beißwenger 2017, pp. 243–244
- ^ Beißwenger 2017, p. 242
- ^ Williams 2003, pp. 347–351
- ^ Schulenberg 2003, p. 2003
- ^ Schulenberg 2006, pp. 34–36
- ^ a b Collins 2005, p. 119
- ^ Krummacher 1986, pp. 157–171
- ISBN 978-1-56159-263-0. Retrieved 6 April 2018.
- ^ Rose 2017, pp. 203, 224–226
- ^ Apel 1972, pp. 605–606
- ISBN 978-1-56159-263-0. Retrieved 2 April 2018.
- ^ Reincken 2005.
- ^ Reincken 2008.
- ^ Butt 2004, pp. 119–202
- ^ Butt & Nolte 2001
- ^ Butt 2004, pp. 199–200
- ^ Perreault 2004, pp. 23–24.
- ^ Perreault 2004, p. 23.
- ^ An Wasserflüssen Babylon, P.17, An Wasserflüssen Babylon, P.18, An Wasserflüssen Babylon, P.20: Scores at the International Music Score Library Project
- ^ Perreault 2004, pp. 24, 381.
- ^ Adler 2006.
- ^ Maul & Wollny 2007, III. Johann Pachelbel: An Wasserflüssen Babylon.
- ^ Maul & Wollny 2008, III. Johann Pachelbel: An Wasserflüssen Babylon.
- ^ Zehnder 2007, 3. An Wasserflüssen Babylon.
- ^ a b Reincken 2008, pp. 9–13 Introduction in English.
- ^ Shannon 2012, p. 207.
- ^ See:
- ^ Bach 1998, p. 302
- ^ a b c Stinson 2001, pp. 78–80
- ^ Stinson 2001 BWV 653a dates from Bach's second period in Weimar 1712–1714. BWV 653b, with its double-pedal part, is considered to be the earliest version: it has five parts with the cantus firmus notated in the soprano voice.
- ^ Williams 2003, pp. 347–351 Several commentators, including Russell Stinson, Peter Williams and Robert Marshall, have questioned the authenticity of BWV 653b, particularly with its unprecedented double-pedal for that period.
- ^ Stinson 1999, pp. 2–9
- ^ Geck 2006, pp. 507–509
- ^ Williams 2003, pp. 348–349
- ^ "D-LEb Peters Ms. R 18 (chorale collection Dietel)". Bach Digital. Leipzig: Bach Archive; et al. 2019-03-06.
- ^ 149 Chorales, D-LEb Peters Ms. R 18 (Bach, Johann Sebastian): Scores at the International Music Score Library Project
- ^ 371 Vierstimmige Choralgesänge (Bach, Johann Sebastian): Scores at the International Music Score Library Project
- ^ Wachowski 1983, pp. 68–69.
- ^ Schemelli 1736, pp. 401 (No. 587), 171 (No. 259).
- ^ Leaver 2014, pp. 15–33
- ^ Leaver 2017, p. 371
- ISBN 978-1-56159-263-0. Retrieved 10 April 2018.
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- ISSN 0084-7682.
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Further reading
- Bach, J.S. (1972). "824. Breifen Kirnbergers an Breitkopf: Verhandlungen wegen der Neuausgabe von Bachs Chorälen, Berlin, 1.7.1777 bis 17.3.1779". In Schulze, Hans-Joachim (ed.). Dokumente zum Nachwirken Johann Sebastian Bachs 1750–1800. Johann Sebastian Bach. Neue Ausgabe sämtlicher Werke (NBA) (in German). Vol. III [supplement]. Bärenreiter. pp. 318–320.
- ISBN 0570013356.
- Bach, J.S. (1991). Rempp, Frieder (ed.). Choräle und geistliche Lieder. Teil 1, Repertoires der Zeit vor 1750 (score). Johann Sebastian Bach. Neue Ausgabe sämtlicher Werke (NBA) (in German). Vol. III/2/1. Bärenreiter. p. 98.
- Bach, J.S. (1996). Rempp, Frieder (ed.). Choräle und geistliche Lieder. Teil 2, Choräle der Sammlung C.P.E. Bach nach dem Druck von 1784–1787. 370 Choräle (critical commentary). Johann Sebastian Bach. Neue Ausgabe sämtlicher Werke (NBA) (in German). Vol. III/2/2. Bärenreiter. pp. 124–125.
- ISBN 9780198162384.
- Dirst, Matthew (2012). "Inventing the Bach chorale". Engaging Bach: The Keyboard Legacy from Marpurg to Mendelssohn. Musical Performance and Reception. ISBN 978-0521651608.
- Dirst, Matthew (2017). "Early Posthumous Published Editions". In Leaver, Robin A. (ed.). The Routledge Research Companion to Johann Sebastian Bach. Taylor & Francis. pp. 464–474. ISBN 9781409417903.
- .
- Dürr, Alfred (1976). Zur Chronologie der Leipziger Vokalwerke J. S. Bachs. Zweite Auflage: Mit Anmerkungen und Nachträgen versehener Nachdruck aus Bach-Jahrbuch (in German). Bärenreiter.
- 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.
- Herl, Joseph (2008). "Strasbourg". Worship Wars in Early Lutheranism: Choir, Congregation and Three Centuries of Conflict. ISBN 978-0195365849.
- Honders, Casper (1985). Over Bachs schouder... (in Dutch). Niemeijer. ISBN 9060623002.
- Jerold, Beverly (2012). "Johann Philipp Kirnberger versus Friedrich Wilhelm Marpurg: A Reappraisal" (PDF). Dutch Journal of Music Theory: 91–108.
- Jerold, Beverly (2013). "Johann Philipp Kirnberger and Authorship". Notes. 69 (4). Music Library Association: 688–705. S2CID 162055740.
- Jerold, Beverly (2014). "Johann Philipp Kirnberger and the Bach Chorale Settings". Bach. 45 (1). Riemenschneider Bach Institute: 34–43. JSTOR 43489889.
- Koch, Eduard Emil (1876). "187. An Wasserflüssen Babylon". In Lauxmann, Richard (ed.). Zweiter Haupttheil: Die Lieder und Weisen. Geschichte des Kirchenlieds und Kirchengesangs der christlichen, insbesondere der deutschen evangelischen Kirche (in German). Vol. 8 (3rd ed.). Stuttgart: Belser. pp. 526–528.
External links
- An Wasserflüssen Babylon, Opella nova (Geistliche Konzerte, Leipzig, 1618) by Johann Hermann Schein: Scores at the International Music Score Library Project
- 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 Archived 2008-11-14 at the Wayback Machine 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
- "An Wasserflüssen Babylons". The Scroll Ensemble. Retrieved 3 March 2018.
- Dahn, Luke. "The Four-Part Chorales of J.S. Bach". Retrieved 9 April 2018.