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Alle Menschen müssen sterben
Text and Translation of Chorale

EKG:
Author: Johann Georg Albinus or Johann Rosenmüller (1652)

Description: The words of the concluding Choral of the Cantata [162, "Ach, ich habe schon erblicket/ Diese große Herrlichkeit" (Ah, I have already glimpsed/ this great splendour), Trinity +16 1716, 1723]* are the seventh stanza of Johann Georg Albinus’ funerary Hymn, “Alle Menschen müssen sterben.” It was written and published for the funeral of Paul von Henssberg, a burgher of Leipzig, and was sung to Rosenmuller’s setting on that occasion (June 1, 1652). The broadsheet states that both words and music were composed in Henssberg’s honour by Johann Rosenmuller. The statement would appear to be conclusive. On the other hand, Rosenmüller is not known as a Hymn writer, and hymnologists unhesitatingly ascribe [438] the Hymn to Albinus, to whose other Hymn for the Dying, “Welt, ade!” Rosenmüller also wrote the music (see Cantata 27/5).[*Francis Browne English translation, BCW http://www.bach-cantatas.com/Texts/Chorale132-Eng3.htm. Source: Terry, Bach’s Chorale, Part 1:2 (Ibid: Cantata CLXII).
The chorale "Alle Menschen müssen sterben" is found in the Neu Leipzig Gesangbuch (NLGB) 1682 of Gottfried Vopelius as No. 383 under "Death and Dying" but is not designated as the hymn for any particular Sunday of the church year in Bach's favored hymn book.

Chorale Melody: Jesu, der du meine Seele, Chorale Text 2: Alle Menschen müssen sterben (All men must die)
This chorale text is generally attributed to either Johann Georg Albinus (1624-1679) or Johann Rosenmüller (1620-1684). The year of its first appearance as a text is 1652. It has always been associated with funerals and death. (By 1649 J. Rosenmüller was appointed to the official position in Leipzig of ‘Baccalaureus funerum.’)
A quotation from Martin Geck’s article on J. Rosenmüller in the MGG1 makes clear the connection between these two men as well as an important connection to J.S. Bach: “Für angesehene Leipziger Bürger komponierte er seinem Amt gemäß Begräbnislieder; den Satz »Welt ade, ich bin dein müde« auf die Worte des Freundes Johann Albinus hat J. S. Bach unverändert in seine Kantate Nr. 27 aufgenommen.” [“For respected Leipzig citizens, he {J. Rosenmüller} composed funeral/burial songs as required of him in his position. J. Rosenmüller composed the {5-pt.} setting of “Welt ade, ich bin dein müde” {“Good-bye world, I’m tired of you”} [Leipzig, 1649] based upon the words of his friend, J.G. Albinus. Later J.S. Bach took J. Rosenmüller’s setting unchanged and placed it into his cantata BWV 27/6.”] However, this melody and text are entirely unique as is also, as far as I can determine, J. Rosenmüller’s 5-pt. setting of “Alle Menschen müssen sterben” [Leipzig, 1652], the melody of which is not to be confused with any of the Jesu, der du meine Seele melodies.
Source: BCW Chorale Melodies used in Bach's Vocal Works, Jesu, der du meine Seele, http://www.bach-cantatas.com/CM/Jesu-der-du-meine-Seele.htm .

Bach Chorale BWV 262 to Albinius/ Rosenmüller text
Bach's other setting, Melody No. 3 (2nd Alternate), is found in the four-part plain chorale, "Alle Menschen müssen sterben," BWV 262 in D Major. The melodic source is Jacob Hintze, Berlin 1678. J. Rosenmüller "The NBA no longer recognizes this as a work by Bach. It is quite obviously a setting by Johann Pachelbel from 1683: Chorale Partita with 8 variations or `Partiten.' The set of variations is introduced by a 4-pt. setting that is authentically by J. Pachelbel (with a subtitle: "Jesu, der du meine Seele.")," says the BCW article, “Musical Context of Bach Cantatas, Motets & Chorales for 20th Sunday after Trinity,” http://www.bach-cantatas.com/LCY/M&C-Trinity20.htm . A recording of this simple harmonization, BWV 262, is found on YouTube: http://www.youtube.com/watch?v=P2FKVsLW2hU
Chorale BWV 262 also is recorded in the Hänssler Complete Bach Edition, Book of Chorale Settings, CD Volume 85, "Dying, Death & Eternity," with translations of Stanza 1 as well as Stanza 4, "Dar wird sein das Freudenleben" (There [heaven] will be the joyful life). The <omne tempore> theme of Death& Dying" is the penultimate thematic section in the <NLGB> and features various death lullabies, similar in tone to "Jesu, der du meine Selle, that begin with graphic descriptions of death, moving from sadness to joy. The final thematic section is a summary of the hymn book, "Recent Days, Resurrection of the Dead, and Eternal Life." lthough the hymn was harmonized by J. Pachelbel (1653-1706), it has various connections to J.S. Bach and it is possible that J.S. Bach used it, since it survived in Bach's "complete" chorale collection (1784-87), compiled by son Carl Philipp Emmanuel from his father's vocal works and published by Breitkopf in Leipzig. Bach's brother and teacher Johann Christoph (1671-1721) was a student of Pachelbel and also copied various organ works. This practice suggests that Bach may have composed a number of his free-standing, four-part chorale harmonization, BWV 252-439, not necessarily to close now-lost service cantatas but as organ introductions to chorale preludes (Pachelbel), as pedagogical compositions to guide less-talented organists similar to Bach's short chorale preludes (Wolff-Zepp,< The Organs of JS Bach>, Univ. of Illinois, 2012: xviii), and as templates particularly for service free-improvisation of talented organists on major instruments (IMHO).

Sebastian also used harmonized chorale settings of other composers in his works, mostly notably, "Welt Ade, ich bin deine Müde" (Welt, ade! ich bin dein müde" (World, farewell! I am weary of you) in the 1682 NLGB No. 372 (Death & Dying) publication of the Albinius/Rosenmuller 1649 text to the melody harmonized by Rosenmuller. It also is known as "Alle Menschen müssen sterben" with "connections" to Rist's hymn "Jesu, der du meine Selle" as well as "Wachet doch, erwacht, ihr Schläfer" " (Wake up yet, awaken, you sleepers), says BCW (Ibid.) This setting closes Cantata BWV 27, "Wer weiß, wie nahe mir mein Ende!" (Who knows how near is my end), composed to a composite text for the 16th Sunday after Trinity in 1726.

Bach harmonized at least five sacred songs with the shared theme “Death & Dying” and “Patience & Serenity,” particularly in the middle 1730s for the home devotional Schmelli Gesangbuch (SG) of 1736. It has 954 song texts with melodies and bass, with its focus on death songs and similar themes. The SG, for the Frankfurt and Leipzig Easter Fairs in 1736, also includes the Albinius 7-stanza text in a variant with textual divergences from Kuhnau’s cantata. The sacred death songs Bach set in the SG are: “Komm, süßer Tod” (Come, sweetest death, anonymous text); BWV 478(SG); “Gib dich zufieden und sei Stille” (Be content and be silent, Paul Gerhardt); BWV 315(PC), BWV 460(SG), BWV 511-12(S,bc;); “Nicht so traurig, nich so sehr” (Be not so sad, be not so much. Gerhardt); BWV 384(PC), BWV 489(SG); and “Ich halte treulich still” (I keep faithfully still, J.H. Till); BWV 466(SG). A similar song of death and dying, not found in the SG, is the chorale “Herr, wie” du willt, so sichts mit mir” (Lord, deal with me as you wish, anonymous) NLGB No. 349; CC BWV 73/1; BWV 339(PC).

Sources: NBA, vols. III/2.1 & 2.2 in particular [Bärenreiter, 1954 to present] and the BWV ("Bach Werke Verzeichnis") [Breitkopf & Härtel]; NBA KB-I/10 (Cantatas for Easter Tuesday, Alfred Dürr, 1956), Bach Compendium BC A 61 & A 171.

Prepared by William Hoffman and Francis Browne 2014

 

Chorale Melody 1: Jesu, der du meine Seele (1st Alternate Chorale Melody - Zahn: 6783) | Composer: ?

Vocal Works by J.S. Bach:

Ver

Work

Mvt.

Year

Br

RE

KE

Di

BC

Type

 

7

BWV 162

Mvt. 6

1715/16

-

18

-

-

A148:6

Chorale [S, A, T, B]

 
 

Chorale Melody 2: Jesu, der du meine Seele (2nd Alternate Chorale Melody - Zahn: 6778) | Composer: ?

Vocal Works by J.S. Bach:

Ver

Work

Mvt.

Year

Br

RE

KE

Di

BC

Type

 

-

BWV 262

-

?

153

17

153

-

F8.1

Chorale [S, A, T, B]

 
 
 

German Text (verses in bold print set by Bach)

English Translation

1

Alle Menschen müßen sterben,
Alles Fleisch vergeht wie Heu;
Was da lebet, muß verderben,
Soll es anders werden neu.
Dieser Leib, der muß verwesen,
Wenn er anders soll genesen
Zu der großen Herrlichkeit,
Die den Frommen ist bereit.

Everybody must die,
all flesh passes like grass;
Whatever lives must perish
if it is to become new elsewhere.
This body must rot
if it is elsewhere to recover
and gain the great glory
which is prepared for those who are righteous.

2

Drum so will ich dieses Leben,
Wann es meinem Gott beliebt,
Auch ganz willig von mir geben,
Bin darüber nicht betrübt;
Denn in meines Jesu Wunden
Hab' ich schon Erlösung funden,
Und mein Trost in Todesnot
Ist des Herren Jesu Tod.

Therefore I am quite willing:
when it pleases my God
to give up this life of mine
and am not troubled about this;
but in the wounds of my Jesus
I have already found redemption
and my consolation in death's agony
is the death of Lord Jesus.

3

Jesus ist für mich gestorben,
Und sein Tod ist mein Gewinn;
Er hat mir das Heil erworben,
Drum fahr' ich mit Freuden hin,
Hin aus diesem Weltgetümmel
In den schönen Gotteshimmel,
Da ich werde allezeit
Schauen die Dreieinigkeit.

Jesus has died for me,
and his death is my profit;
he has won for me salvation,
therefore I joyfully go from here,
away from the bustle of the world
into God's beautiful heaven
where I shall forever
behold the Trinity.

4

Dar wird sein das Freudenleben,
Da viel tausen Seelen schon
Sind mit Himmelsglanz umgeben,
Dienen Gott vor seinem Thron,
Da die Seraphinen prangen
Und das hohe Lied anfangen:
Heilig, heilig, heilig heißt
Gott der Vater, Sohn und Geist.

There will be the joyful life
where many thousand souls already
surrounded with heavenly splendour
serve God before his throne,
where the Seraphim are resplendent
and begin the lofty song:
Holy holy holy call
God the Father, son, and spirit.

5

Da die Patriarchen wohnen,
Die Propheten allzumal,
Da auf ihren Ehrenthronen
Sitzet die gezwölfte Zahl,
Da in so viel tausend Jahren
Alle Frommen hingefahren,
Da wir unserm Gott zu Ehr'n
Ewig Halleluja hör'n.

There dwell the patriarchs,
together with the prophets,
there on the thrones of honour
sit the twelve Apostles,
there in so many thousand years
all the righteous have gathered,
there in honour of our God
we shall hear hallelujah forever.

6

O Jerusalem, du Schöne,
Ach, wie helle glänzest du!
Ach, wie lieblich Lobgetöne
Hört man da in sanfter Ruh'!
O der großen Freud' und Wonne!
Jetzund gehet auf die Sonne,
Jetzund gehet an der Tag,
Der kein Ende nehmen mag.

O Jerusalem, you beautiful place,
Ah, how bright you shine!
Ah,how sweetly sounds of praise
are heard in gentle peace!
O the great joy and delight!
Now rises the sun,
now begins the day
that can have no end.

7

Ach, ich habe schon erblicket
Diese große Herrlichkeit!
Jetzund werd' ich schön geschmücket
Mit dem weißen Himmelskleid
Und der goldnen Ehrenkrone,
Stehe da vor Gottes Throne,
Schaue solche Fruede an,
Die kein Ende nehmen kann
.

Ah, I have already beheld
this great glory!
Now I shall be adorned
with the white garments of heaven
and the golden crown of honour,
I shall stand before the throne of God,
gazing on such joys
that can never end.

 

English Translation by Francis Browne (April 2009)
Contributed by Francis Browne (April 2009)


Chorales BWV 250-438: Details and Recordings
Individual Recordings: Hilliard - Morimur | Chorales - N. Matt | Chorales - H. Rilling | Preludi ai Corali - Quartetto Italiani di Viola Da Gamba
Discussions: Motets & Chorales for Events in the LCY / Chorales by Theme | General Discussions: Part 1 | Part 2 | Part 3 | Part 4 | Chorales in Bach Cantatas: Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6 | Part 7 | Part 8 | Passion Chorale
References: Chorales BWV 250-300 | Chorales BWV 301-350 | Chorales BWV 351-400 | Chorales BWV 401-438 | 371 4-Part Chorales sorted by Breitkopf Number | Texts & Translations of Chorales BWV 250-438
Chorale Texts: Sorted by Title | Chorale Melodies: Sorted by Title | Explanation
MIDI files of the Chorales: Cantatas BWV 1-197 | Other Vocal Works BWV 225-248 | Chorales BWV 250-438
Articles: The Origin of the Texts of the Chorales [A. Schweitzer] | The Origin of the Melodies of the Chorales [A. Schweitzer] | The Chorale in the Church Service [A. Schweitzer] | Choral / Chorale [C.S. Terry] | Hidden Chorale Melody Allusions [T. Braatz] | The History of the Breitkopf Collection of J. S. Bach’s Four-Part Chorales [T. Braatz] | The World of the Bach Chorale Settings [W.L. Hoffman]
Hymnals: Hymnals used by Bach | Wagner Hymnal 1697 | Evangelisches Gesangbuch 1995 | Dietel Chorale List c1734
Abbreviations used for the Chorales | Links to other Sites about the Chorales

Texts & English Translations of Chorales: Sorted by Title

Texts & Translations: Main Page | Cantatas BWV 1-50 | Cantatas BWV 51-100 | Cantatas BWV 101-150 | Cantatas BWV 151-200 | Cantatas BWV 201-224 | Other Vocal BWV 225-249 | Chorales BWV 250-438 | Geistliche Lieder BWV 439-507 | AMN BWV 508-524 | Other Vocal 1081-1164 | BWV Anh | Chorale Texts | Emblemata | Sources | Poets & Composers
Discussions: Texts: Part 1 | Part 2 | Part 3 | Translations: Part 1 | Part 2 | Part 3 | Part 4




 

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Last update: Wednesday, October 03, 2018 09:50