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== Musical settings ==
== Musical settings ==
{{Multiple issues|section=yes|
{{Confusing section|reason= the 1720 improvisation by Bach before Reincken is told twice without integration in the narrative|small=no}}
{{incomplete section|small=no}}
}}
In 1544 [[Georg Rhau]] composed two settings for several parts for his collection ''Neue Deutsche Geistliche Gesänge für die gemeinen Schulen''.<ref name="Scroll" /> [[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.<ref name="Scroll" />
In 1544 [[Georg Rhau]] composed two settings for several parts for his collection ''Neue Deutsche Geistliche Gesänge für die gemeinen Schulen''.<ref name="Scroll" /> [[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.<ref name="Scroll" />


Revision as of 05:10, 22 March 2018

"An Wasserflüssen Babylon"
Lutheran hymn
Cantus and verses of
An Wasserflüssen Babylon[1]
TextWolfgang Dachstein
LanguageGerman
Based onPsalm 137
Published1525 (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 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.

Various composers adopted the hymn or its tune in their compositions. Johann Schein and Heinrich Schütz published four-part chorale settings of the hymn in the first half of the 17th century. Johann Adam Reincken wrote an extensive organ piece based on the hymn. Johann Sebastian Bach, who copied Reincken's composition in 1700, and twenty years later was commended by Reincken for improvising on the organ on "An Wasserflüssen Babylon", composed a chorale prelude on the hymn as part of his Great Eighteen Chorale Preludes.

History and context

Martin Bucer, German Lutheran reformer in Strasbourg

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. This Strasbourg tract, which comprised the third part of the Lutheran service, is now lost.[2][3] As directed by the Lutheran reformer Martin Bucer, the service contained a liturgical agenda and rhyming psalms.[4][5]

The text and melody of "An Wasserflüssen Babylon" are attributed to the organist Wolfgang Dachstein.[2][6][7] The hymn was rapidly distributed—it was printed in Martin Luther's 1545 Babstsches Gesangbuch[8]—and spread to most Lutheran hymnbooks by central Germany.[2] After the Sack of Magdeburg (1631) it was decreed that Dachstein's 137th Psalm would be sung every year as part of the ceremonies to commemorate the destruction of the city.[9]

The melody of the hymn became better known than its text, through the association of that melody with Paul Gerhardt's 17th-century Passion hymn "Ein Lämmlein geht und trägt die Schuld".[3][9] With that hymn text, the hymn tune of "An Wasserflüssen Babylon" is adopted as EG 83 in the Protestant hymnal Evangelisches Gesangbuch.[10][11] The hymn tune is Dachstein's best known composition.[7]

Miles Coverdale provided an early English translation in the Tudor Protestant Hymnal "Ghostly Psalms and Spiritual Songs," 1539.[12][13]

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.[14][13]

German text

    English translation

1. An Wasserflüssen Babylon,
   Da saßen wir mit Schmerzen;
   Als wir gedachten an Sion,
   Da weinten wir von Herzen;
   Wir hingen auf mit schwerem Mut
   Die Orgeln und die Harfen gut
   An ihre Bäum der Weiden,
   Die drinnen sind in ihrem Land,
   Da mussten wir viel Schmach und Schand
   Täglich von ihnen leiden.

     At the ryvers of Babilon,
     There sat we downe ryght hevely;
     Even whan we thought upon Sion,
     We wepte together sorofully.
     For we were in soch hevynes,
     That we forgat al our merynes,
     And lefte of all oure sporte and playe:
     On the willye trees that were thereby
     We hanged up oure harpes truly,
     And morned sore both nyght and daye.

2. Die uns gefangen hielten lang
   So hart an selben Orten
   Begehrten von uns ein Gesang
   Mit gar spöttlichen Worten
   Und suchten in der Traurigkeit
   Ein fröhlichn Gsang in unserm Leid
   Ach lieber tut uns singen
   Ein Lobgesang, ein Liedlein schon
   Von den Gedichten aus Zion,
   Das fröhlich tut erklingen.

    They that toke us so cruelly,
    And led us bounde into pryson,
    Requyred of us some melody.
    With wordes full of derision.
    When we had hanged oure harpes alwaye,
    This cruell folke to us coulde saye:
    Now let us heare some mery songe,
    Synge us a songe of some swete toyne,
    As ye were wont to synge at Sion,
    Where ye have lerned to synge so longe.

3. Wie sollen wir in solchem Zwang
   Und Elend, jetzt vorhanden,
   Dem Herren singen ein Gesang
   Sogar in fremden Landen?
   Jerusalem, vergiss ich dein,
   So wolle Gott, der G'rechte, mein
   Vergessen in meim Leben,
   Wenn ich nicht dein bleib eingedenk
   Mein Zunge sich oben ane häng
   Und bleib am Rachen kleben.

    To whome we answered soberly:
    Beholde now are we in youre honde:
    How shulde we under captivite
    Synge to the Lorde in a straunge londe?
    Hierusalem, I say to the,
    Yf I remember the not truly,
    My honde playe on the harpe no more:
    Yf I thynke not on the alwaye,
    Let my tonge cleve to my mouth for aye,
    And let me loose my speache therfore.

4. Ja, wenn ich nicht mit ganzem Fleiss,
   Jerusalem, dich ehre,
   Im Anfang meiner Freude Preis
   Von jetzt und immermehre,
   Gedenk der Kinder Edom sehr,
   Am Tag Jerusalem, o Herr,
   Die in der Bosheit sprechen:
   Reiss ab, reiss ab zu aller Stund,
   Vertilg sie gar bis auf den Grund,
   Den Boden wolln wir brechen!

     Yee, above all myrth and pastaunce,
     Hierusalem, I preferre the.
     Lorde, call to thy remembraunce
     The sonnes of Edom ryght strately,
     In the daye of the destruction,
     Which at Hierusalem was done;
     For they sayd in theyr cruelnes,
     Downe with it, downe with it, destroye it all;
     Downe with it soone, that it may fall,
     Laye it to the grounde all that there is.

5. Die schnöde Tochter Babylon,
   Zerbrochen und zerstöret,
   Wohl dem, der wird dir gebn den Lohn
   Und dir, das wiederkehret,
   Dein Übermut und Schalkheit gross,
   Und misst dir auch mit solchem Mass,
   Wie du uns hast gemessen;
   Wohl dem, der deine Kinder klein
   Erfasst und schlägt sie an ein Stein,
   Damit dein wird vergessen![15]

     O thou cite of Babilon,
     Thou thy selfe shalt be destroyed.
     Truly blessed shall be that man
     Which, even as thou hast deserved,
     Shall rewarde the with soch kyndnesse
     As thou hast shewed to us gyltlesse,
     Which never had offended the.
     Blessed shall he be that for the nones
     Shall throwe thy chyldren agaynst the stones,
     To brynge the out of memorie.

Musical settings

In 1544 Georg Rhau composed two settings for several parts for his collection Neue Deutsche Geistliche Gesänge für die gemeinen Schulen.[16] 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.[16]

Johann Hermann Schein published his four-part setting of "An Wasserflüssen Babylon" in 1627,[17][citation needed] a setting that was republished in p. 706 of Vopelius's Neu Leipziger Gesangbuch.[2][18][citation needed] In 1628 Heinrich Schütz published a four-part setting of "An Wasserflüssen Babylon", SWV 242, in his Becker Psalter, Op. 5.[1][19]

The melody was frequently used for organ settings in the 17th century, such as a chorale fantasia by the Hamburg organist Johann Adam Reincken.[citation needed] The extended work has 320 bars, and takes about 19 minutes to perform.[citation needed] Every line is composed differently, in the style of the North German organ school.[citation needed] The young Johann Sebastian Bach copied Reincken's work when he studied with Georg Böhm in 1700. 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.[20]

Bach wrote a setting the third of his Great Eighteen Chorale Preludes (BWV 653).[21][22]

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.[22]

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.[23]

Bach also composed a four-part setting, BWV 267, which appeared around 1735 in the Dietel manuscript.[24][25] 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".[25] 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.[25]

Further reading

Notes

  1. ^ a b Schütz 1628
  2. ^ a b c d e Leahy 2011, pp. 37–38, 53
  3. ^ a b Zahn 1891
  4. ^ Greschat 2004, pp. 55–64
  5. ^ Trocmé-Latter 2015, pp. 3, 11
  6. ^ Terry 1921, pp. 101–103
  7. ^ a b Julian 1907
  8. ^ Krummacher 2001, pp. 194–195
  9. ^ a b Werner 2016, p. 205
  10. ^ 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)
  11. ^ "Ein Lämmlein geht und trägt die Schuld" (in German). Württembergische Landeskirche. Retrieved 24 February 2018.
  12. ^ Coverdale 1846, pp. 571–572
  13. ^ 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.
  14. ^ Coverdale 1846, pp. 571–572
  15. ^ 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)
  16. ^ a b "An Wasserflüssen Babylons". The Scroll Ensemble. Retrieved 3 March 2018.
  17. ^ Johann Hermann Schein (1627). Cantional, Oder Gesangbuch Augspurgischer Confession. Leipzig: Schein, pp. 325–327
  18. ^ Gottfried Vopelius (1682). Neu Leipziger Gesangbuch. Leipzig: Christoph Klinger, pp.706–709
  19. ^ Schütz 2013
  20. ^ Adler, Margit (31 August 2006). "Earliest Music Manuscripts by Johann Sebastian Bach Discovered". www.klassik-stiftung.de. Klassik Stiftung Weimar.
  21. ^ Williams 2003, pp. 347–351
  22. ^ a b Stinson 2001
  23. ^ Geck 2006, pp. 507–509
  24. ^ D-LEb Peters Ms. R 18 (chorale collection Dietel) at Bach Digital website. 6 August 2017.
  25. ^ a b c Luke Dahn. BWV 267 at www.bach-chorales.com. 2017.
  26. ^ Schütz 2013, pp. 55–65

References

External links

source: https://en.wikipedia.org/w/index.php?title=An_Wasserfl%C3%BCssen_Babylon&type=revision&diff=831784111&oldid=831783729

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