Ach Gott, vom Himmel sieh darein

Last updated
"Ach Gott, vom Himmel sieh darein"
Hymn by Martin Luther
Enchiridion geistlicher Gesange 24.jpg
"Der XI. Psalm Salvum me fac" in the Erfurt Enchiridion , 1524 (Zahn No. 4431 melody)
EnglishOh God, look down from heaven
CatalogueZahn 4431–4432a
Textby Martin Luther
LanguageGerman
Published1524 (1524)

"Ach Gott, vom Himmel sieh darein" ("Oh God, look down from heaven") is a Lutheran chorale of 1524, with words written by Martin Luther paraphrasing Psalm 12. It was published as one of eight songs in 1524 in the first Lutheran hymnal, the Achtliederbuch, which contained four songs by Luther, three by Speratus, and one by Justus Jonas. It was contained in 1524 in the Erfurt Enchiridion. It is part of many hymnals, also in translations. The text inspired vocal and organ music by composers such as Heinrich Schütz, who set it as part of his Becker Psalter, and Johann Sebastian Bach, who based a chorale cantata on it. Mozart used one of its tunes in his opera The Magic Flute . [1]

Contents

History and text

Der XI. Psalm Salvum me fac, p. 2, Erfurt Enchiridion, 1524 Enchiridion geistlicher Gesange 25.jpg
Der XI. Psalm Salvum me fac, p. 2, Erfurt Enchiridion, 1524

At the end of 1523, Luther paraphrased Psalm 12 (Psalm 11 in Vulgata numbering), Psalms12, in Latin Salvum me fac, attempting to make the psalms accessible to Protestant church services in German. Luther's poetry first follows the verses of the psalm exactly, then combines two verses to one. He expanded the content of the psalm to show the precise situation of the early Reformation as a time of conflict. [2]

The hymn was first printed as one page inserted in the Wittenberger Dreiliederblatt (lost). It was one of eight hymns of the first Lutheran hymnal, published 1524 in Nuremberg under the title Etlich Cristlich lider (Some Christian songs), also called Achtliederbuch. The same year it appeared in Erfurt in Eyn Enchiridion . [3] [4] The hymn was soon used as a Protestant Kampflied (battle song).

The chorale became the Lutheran Hauptlied (main hymn) for the second Sunday after Trinity.[ citation needed ]

Melody

In the first Lutheran hymnal the melody was the same as for " Es ist das Heil uns kommen her " by Paul Speratus (Zahn No. 4430). [4] [5] [6] In the Erfurt Enchiridion, also in 1524, the text first appeared with a tune codified by Martin Luther, [7] Zahn No. 4431, [5] which was derived from the secular song "Begierlich in dem Herzen mein" (The lustful desires in my heart) from about 1410. This melody is in Phrygian mode, preferred by Luther for texts of repentance, such as " Aus tiefer Not schrei ich zu dir ". [4] In Johann Walter's hymnal Eyn geystlich Gesangk Buchleyn , published in Wittenberg in 1524, it appeared with a different melody (Zahn No. 4432a). [4] [5]

Musical settings

The Zahn No. 4431 melody was set by composers for instruments like harpsichord and organ, and for voices.

Instrumental

Jan Pieterszoon Sweelinck composed a piece for harpsichord, elaborating on the tune. [8] Johann Pachelbel composed two chorale preludes for organ. Johann Sebastian Bach's setting for organ chorale prelude, BWV 741, raises some problems of dating and authenticity according to Williams (2003). [9] [10]

Vocal

Heinrich Schütz set the chorale as part of the Becker Psalter . Bach used the complete chorale as the base for Ach Gott, vom Himmel sieh darein, BWV 2 , a chorale cantata composed in 1724, but also in others as four-part settings (BWV 77 and BWV 153). [10] Wilhelm Friedemann Bach set the chorale as a church cantata (Fk  96). [11] In 1832, Felix Mendelssohn composed a chorale cantata for baritone, mixed choir and orchestra (MWV  A13).

Mozart used the melody in his opera Die Zauberflöte in act 2, Finale, scene 10, when the two "Geharnischte" (men in armour) recite it in unison on Schikaneder's words "Der, welcher wandert diese Strasse voll Beschwerden" as a cantus firmus of a Baroque-style chorale prelude. Alfred Einstein commented in his biography Mozart / His Character, His Work:

In the second act it is the final test of the lovers, the "'test of fire and water", for which Mozart called into play every musical means at his disposal and for which he ordained extreme simplicity, extreme mastery; the scene of the men in armor, which he constructed in the form of a chorale prelude, building upon a solemn fugato around the chorale Ach Gott, vom Himmel sieh darein ... [12]

Related Research Articles

<i>Ach Gott, vom Himmel sieh darein</i>, BWV 2 Chorale cantata by Johann Sebastian Bach

Ach Gott, vom Himmel sieh darein, BWV 2, is a chorale cantata composed by Johann Sebastian Bach for the second Sunday after Trinity in 1724. First performed on 18 June in Leipzig, it is the second cantata of his chorale cantata cycle. The church cantata is based on Martin Luther's 1524 hymn "Ach Gott, vom Himmel sieh darein", a paraphrase of Psalm 12.

<i>Aus tiefer Not schrei ich zu dir</i>, BWV 38 Church cantata by Johann Sebastian Bach

Aus tiefer Not schrei ich zu dir, BWV 38, is a church cantata by Johann Sebastian Bach. He composed the chorale cantata in Leipzig in 1724 for the 21st Sunday after Trinity and first performed it on 29 October 1724.

"Wär Gott nicht mit uns diese Zeit" is a Lutheran hymn, with words written by Martin Luther based on the Psalm 124. The hymn in three stanzas of seven lines each was first published in 1524. It was translated to English and has appeared in 20 hymnals. The hymn formed the base of several compositions, including chorale cantatas by Buxtehude and Bach.

<span class="mw-page-title-main">Aus tiefer Not schrei ich zu dir</span> 1524 Lutheran hymn

"Aus tiefer Not schrei ich zu dir", originally "Aus tieffer not schrey ich zu dir", later also "Aus tiefer Noth schrei' ich zu dir", is a Lutheran hymn of 1524, with words written by Martin Luther as a paraphrase of Psalm 130. It was first published in 1524 as one of eight songs in the first Lutheran hymnal, the Achtliederbuch, which contained four songs by Luther, three by Paul Speratus, and one by Justus Jonas, and also appeared the same year in the Erfurt Enchiridion. It is part of many hymnals, also in translations. The text inspired vocal and organ music from the Renaissance to contemporary, including composers such as Johann Sebastian Bach, who based a chorale cantata on it, Felix Mendelssohn and Max Reger.

<span class="mw-page-title-main">Nun komm, der Heiden Heiland</span> Song by Martin Luther

"Nun komm, der Heiden Heiland" is a Lutheran chorale of 1524 with words written by Martin Luther, based on "Veni redemptor gentium" by Ambrose, and a melody, Zahn 1174, based on its plainchant. It was printed in the Erfurt Enchiridion of 1524.

<span class="mw-page-title-main">Christ lag in Todesbanden</span>

"Christ lag in Todesbanden" is an Easter hymn by Martin Luther. Its melody is by Luther and Johann Walter. Both the text and the melody were based on earlier examples. It was published in 1524 in the Erfurt Enchiridion and in Walter's choral hymnal Eyn geystlich Gesangk Buchleyn. Various composers, including Pachelbel, Bach and Telemann, have used the hymn in their compositions.

<span class="mw-page-title-main">First Lutheran hymnal</span> Hymnal by Martin Luther and Paul Speratus

The First Lutheran hymnal, published in 1524 as Etlich Cristlich lider / Lobgesang und Psalm, often also often referred to as the Achtliederbuch, was the first Lutheran hymnal.

There are 52 chorale cantatas by Johann Sebastian Bach surviving in at least one complete version. Around 40 of these were composed during his second year as Thomaskantor in Leipzig, which started after Trinity Sunday 4 June 1724, and form the backbone of his chorale cantata cycle. The eldest known cantata by Bach, an early version of Christ lag in Todes Banden, BWV 4, presumably written in 1707, was a chorale cantata. The last chorale cantata he wrote in his second year in Leipzig was Wie schön leuchtet der Morgenstern, BWV 1, first performed on Palm Sunday, 25 March 1725. In the ten years after that he wrote at least a dozen further chorale cantatas and other cantatas that were added to his chorale cantata cycle.

<span class="mw-page-title-main">Wo Gott der Herr nicht bei uns hält</span> 1524 Lutheran hymn

"Wo Gott der Herr nicht bei uns hält" is a Lutheran hymn by Justus Jonas, a paraphrase of Psalm 124 in eight stanzas. It was first published in 1524 in the Erfurt Enchiridion. The theme of the psalm is the need of help against raging enemies. It has been translated also as "Where the Lord God does not stand (stay) with us", "If God the Lord is not with us", "If God the Lord is not on our side", among others.

<span class="mw-page-title-main">Herr Christ, der einig Gotts Sohn</span> Protestant hymn

"Herr Christ, der einig Gotts Sohn" is a Lutheran hymn by Elisabeth Cruciger. Printed in 1524 in the Erfurt Enchiridion, together with 18 hymns by Martin Luther, it is one of the oldest Lutheran hymns. The text combines Lutheran teaching with medieval mysticism. It has been the basis of musical settings such as Bach's chorale cantata Herr Christ, der einge Gottessohn, BWV 96.

<span class="mw-page-title-main">Komm, Heiliger Geist, Herre Gott</span>

"Komm, Heiliger Geist, Herre Gott" is a Lutheran hymn for Pentecost, with words written by Martin Luther based on "Veni Sancte Spiritus, reple tuorum corda fidelium". The hymn in three stanzas was first published in 1524. For centuries the chorale has been the prominent hymn (Hauptlied) for Pentecost in German-speaking Lutheranism. Johann Sebastian Bach used it in several chorale preludes, cantatas and his motet Der Geist hilft unser Schwachheit auf, BWV 226.

"Vater unser im Himmelreich" is a Lutheran hymn in German by Martin Luther. He wrote the paraphrase of the Lord's Prayer in 1538, corresponding to his explanation of the prayer in his Kleiner Katechismus. He dedicated one stanza to each of the seven petitions and framed it with an opening and a closing stanza, each stanza in six lines. Luther revised the text several times, as extant manuscript show, concerned to clarify and improve it. He chose and possibly adapted an older anonymous melody, which was possibly associated with secular text, after he had first selected a different one. Other hymn versions of the Lord's Prayer from the 16th and 20th-century have adopted the same tune, known as "Vater unser" and "Old 112th".

<span class="mw-page-title-main">Vom Himmel hoch, da komm ich her</span>

"Vom Himmel hoch, da komm ich her" is a hymn text relating to the Nativity of Jesus, written by Martin Luther in 1534. The hymn is most often sung to the melody, Zahn No. 346, which first appeared in a 1539 songbook and was probably also composed by Luther. This classic Christmas carol remains popular and has inspired many choral and organ works by other composers.

<span class="mw-page-title-main">Jesus Christus, unser Heiland, der den Tod überwand</span> Lutheran hymn

"Jesus Christus, unser Heiland, der den Tod überwand" is a hymn for Easter by Martin Luther. The text originated in 1524. Johannes Zahn listed three hymn tunes for it. Two of these, Zahn Nos. 1976 and 1977, were published in 1724. A third, Zahn No. 1978, is attributed to Luther and was first published in 1529. Variants of this melody originated up to the early 17th century.

<span class="mw-page-title-main">Christ unser Herr zum Jordan kam</span> Lutheran hymn about baptism by Martin Luther

"Christ unser Herr zum Jordan kam" is a Lutheran hymn about baptism by Martin Luther, written in 1541 and published in 1543. It has been set in many musical compositions, including cantatas and chorale preludes by Johann Sebastian Bach.

<span class="mw-page-title-main">Komm, Gott Schöpfer, Heiliger Geist</span> Lutheran hymm for Pentecost

"Komm, Gott Schöpfer, Heiliger Geist" is a Lutheran hymn for Pentecost, with words written by Martin Luther based on the Latin "Veni Creator Spiritus". The hymn in seven stanzas was first published in 1524. Its hymn tunes are Zahn No. 294, derived from the chant of the Latin hymn, and Zahn No. 295, a later transformation of that melody. The number in the current Protestant hymnal Evangelisches Gesangbuch (EG) is 126.

<span class="mw-page-title-main">Lutheran hymn</span> Christian hymn used in Lutheran services

Martin Luther was a great enthusiast for music, and this is why it forms a large part of Lutheran services; in particular, Luther admired the composers Josquin des Prez and Ludwig Senfl and wanted singing in the church to move away from the ars perfecta and towards singing as a Gemeinschaft (community). Lutheran hymns are sometimes known as chorales. Lutheran hymnody is well known for its doctrinal, didactic, and musical richness. Most Lutheran churches are active musically with choirs, handbell choirs, children's choirs, and occasionally change ringing groups that ring bells in a bell tower. Johann Sebastian Bach, a devout Lutheran, composed music for the Lutheran church: more than half of his over 1000 compositions are or contain Lutheran hymns.

<span class="mw-page-title-main">Es woll uns Gott genädig sein</span>

"Es woll uns Gott genädig sein" is a Lutheran hymn, with words written by Martin Luther based on the Psalm 67. The hymn in three stanzas of nine lines each was first published in Wittenberg in 1524. Its best known hymn tune, Zahn No. 7247, was published in Strasbourg in 1524. Heinrich Schütz and Johann Sebastian Bach wrote settings of the hymn. It was translated to English and has appeared in dozens of hymnals.

<span class="mw-page-title-main">Dies sind die heilgen zehn Gebot</span> Lutheran hymn

"Dies sind die heilgen zehn Gebot" is a hymn by the Protestant reformer Martin Luther based on the Ten Commandments. It appeared first in 1524 in the Erfurt Enchiridion.

<span class="mw-page-title-main">Es spricht der Unweisen Mund wohl</span>

"Es spricht der Unweisen Mund wohl" is a Lutheran hymn of 1524, with words written by Martin Luther in 1523, paraphrasing Psalm 14. It was published as one of eight songs in 1524 in the first Lutheran hymnal, the Achtliederbuch. It was also published later that year in the Erfurt Enchiridion. It has appeared in many hymnals, both in German and in translation. The text inspired vocal and organ music by composers such as Johann Pachelbel.

References

  1. ↑ Rathey, Markus (September 2016). "Mozart, Kirnberger, and the idea of musical purity: Revisiting two sketches from 1782". Eighteenth-Century Music. 13 (2). Cambridge University Press: 235–252. doi: 10.1017/S1478570616000063 .
  2. ↑ Paul Hofreiter (1995). "Johann Sebastian Bach and Scripture / O God, from Heaven Look Down" (PDF). Concordia Theological Quarterly, Volume 59, No. 2. Retrieved 5 August 2011.
  3. ↑ "Ach Gott, vom Himmel sieh darein / Text and Translation of Chorale". bach-cantatas.com. 2005. Retrieved 4 August 2011.
  4. 1 2 3 4 "Chorale Melodies used in Bach's Vocal Works / Ach Gott, vom Himmel sieh darein". bach-cantatas.com. 2006. Retrieved 4 August 2011.
  5. 1 2 3 Johannes Zahn (1890). Die Melodien der deutschen evangelischen Kirchenlieder, Vol. III. Gütersloh: Bertelsmann, pp. 70–71
  6. ↑ Crist, Stephen A. Early Lutheran Hymnals and Other Musical Sources in the Kessler Reformation Collection at Emory University, Notes - Volume 63, Number 3, March 2007, pp. 503-528.
  7. ↑ Julian, John, ed., A Dictionary of Hymnology: Setting forth the Origin and History of Christian Hymns of all Ages and Nations, Second revised edition, 2 vols., n.p., 1907, reprint, New York: Dover Publications, Inc., 1957, 1:322-25
  8. ↑ Christopher Brodersen (2011). "Sweelinck, J.P.: Harpsichord Works". Fanfare. Retrieved 6 August 2011.
  9. ↑ Williams, Peter (2003), The Organ Music of J. S. Bach (2nd ed.), Cambridge University Press, pp. 487–488, ISBN   0-521-89115-9
  10. 1 2 "Ach Gott, vom Himmel sieh darein". All of Bach. Netherlands Bach Society. Retrieved 20 April 2018.
  11. ↑ Work 09805 at Bach Digital website
  12. ↑ "Mozart's Magic Flute: Comments and Music Criticism". Raptus Association for Music Appreciation. Retrieved 6 August 2011.
This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.