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Schübler Chorales
Schübler Chorales
Schübler Chorales
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Title page of the 1740s first edition of the Schübler Chorales

Sechs Chorale von verschiedener Art: auf einer Orgel mit 2 Clavieren und Pedal vorzuspielen (lit. 'six chorales of diverse kinds, to be played on an organ with two manuals and pedal'), commonly known as the Schübler Chorales (German: Schübler-Choräle), BWV 645–650, is a set of chorale preludes composed by Johann Sebastian Bach. Johann Georg Schübler, after whom the collection came to be named, published it in 1747 or before August 1748, in Zella St. Blasii. At least five preludes of the compilation are transcribed from movements in Bach's church cantatas, mostly chorale cantatas he had composed around two decades earlier.

The fact that Bach had gone to the trouble and expense of securing the services of a master engraver to produce a collection of note-for-note transcriptions of this kind indicates that he did not regard the Schübler Chorales as a minor piece of hack-work, but as a significant public statement. These six chorales provide an approachable version of the music of the cantatas through the more marketable medium of keyboard transcriptions.[1] Virtually all Bach's cantatas were unpublished in his lifetime.

Context and content

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The hymn tunes of the Lutheran hymns on which the chorale settings included in the Schübler Chorales are based can be identified by their Zahn number.[2] The fourth chorale of the set is however based on a German variant of the Ninth psalm tone.

Five of the Schübler Chorales are transcriptions of movements of extant church cantatas by Bach. These cantatas belong to the chorale cantata or second year cycle. Bach began to present the cantatas of this cycle from the first Sunday after Trinity 11 June 1724, which was the start of his second year in Leipzig. He continued to present 40 new chorale cantatas until Easter of the next year, 1 April 1725, from which day the chorale cantata cycle and the second year cycle no longer coincide: for the remainder of his second year in Leipzig his newly composed church cantatas were no longer in the chorale cantata format, while on the other hand he added chorale cantatas to the cycle which were composed outside the period of his second year in Leipzig. Listed according to the sequence of the liturgical year:

For BWV 646 there is no extant model from which the chorale prelude may have transcribed.[13] Apart from some original manuscripts of the preceding cantata models there are no extant manuscripts of the Schübler Chorales older than their 1747–1748 printed version: Bach's only extant autograph regarding the organ versions consists of the corrections and improvements he wrote, before August 1748, in his copy of the first edition.[14]

All six Schübler Chorales are in the chorale fantasia format: this means that one of the melody lines in the setting is the relatively unadorned chorale tune, which is called cantus firmus. The two central preludes of the set (BWV 647 and 648) are four-part settings, while the others are three-part settings (trios).[14]

External audio
audio icon You may hear the Chorale Prelude For Organ, BWV 645: "Wachet auf, ruft uns die Stimme" as performed by E. Power Biggs in 1968
Here on archive.org
BWV # Title Model Date Tune
645 1 Wachet auf, ruft uns die Stimme BWV 140/4 25 November 1731 Zahn No. 8405
646 2 Wo soll ich fliehen hin (unknown) Zahn No. 2164
Auf meinen lieben Gott
647 3 Wer nur den lieben Gott lässt walten BWV 93/4 9 July 1724 Zahn No. 2778
648 4 Meine Seele erhebt den Herren BWV 10/5 2 July 1724 9th psalm tone
649 5 Ach bleib bei uns, Herr Jesu Christ BWV 6/3 2 April 1725 Zahn No. 493
650 6 Kommst du nun, Jesu, vom Himmel herunter BWV 137/2 19 August 1725 Zahn No. 1912a
See also: List of organ compositions by Johann Sebastian Bach § Wachet auf, ruft uns die Stimme

Wachet auf, ruft uns die Stimme, BWV 645

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See also: List of organ compositions by Johann Sebastian Bach § Wachet auf, ruft uns die Stimme
BWV 645 (excerpt)

Wachet auf, ruft uns die Stimme, BWV 645.

Chorale melody

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Hymn tune of BWV 645
See also: Wachet auf, ruft uns die Stimme

The hymn tune of this chorale prelude is "Wachet auf, ruft uns die Stimme" ("Wake, Awake for Night is Passing"), Zahn No. 8405.

Model

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From Wachet auf, ruft uns die Stimme, BWV 140
4. "Zion hört die Wächter singen"
performed by MIT Concert Choir (Cutter)
Problems playing this file? See media help.
See also: Wachet auf, ruft uns die Stimme, BWV 140 § 4

The chorale prelude is a transcription of "Zion hört die Wächter singen" ("Zion hears the watchmen sing"),[15] the 4th movement of the cantata Wachet auf, ruft uns die Stimme, BWV 140, which is a chorale for tenor voice accompanied by unison strings and continuo.

Wo soll ich fliehen hin (or) Auf meinen lieben Gott, BWV 646

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See also: List of organ compositions by Johann Sebastian Bach § Wo soll ich fliehen hin

Wo soll ich fliehen hin (or) Auf meinen lieben Gott, BWV 646.

Chorale melody

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See also: Wo soll ich fliehen hin

Hymn tune: "Wo soll ich fliehen hin" ("Whither shall I flee?"), or, "Auf meinen lieben Gott", Zahn No. 2164.

Model

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Since no model has been found for BWV 646, most scholars assume that the source cantata is one of the 100 or so believed to have been lost. The trio scoring of the movement suggests the original may have been for violin, or possibly violins and violas in unison (right hand), and continuo (left hand), with the chorale (pedal) sung by soprano or alto.

Wer nur den lieben Gott lässt walten, BWV 647

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See also: List of organ compositions by Johann Sebastian Bach § Wer nur den lieben Gott läßt walten

Wer nur den lieben Gott lässt walten, BWV 647.

Chorale melody

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Hymn tune of BWV 647
See also: Wer nur den lieben Gott läßt walten

Hymn tune: "Wer nur den lieben Gott läßt walten" ("Who allows God alone to rule him"), Zahn No. 2778.

Model

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See also: Wer nur den lieben Gott läßt walten, BWV 93 § 4

Arranged from Wer nur den lieben Gott läßt walten, BWV 93, movement 4 (duet for soprano and alto).

Meine Seele erhebt den Herren, BWV 648

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See also: List of organ compositions by Johann Sebastian Bach § Meine Seele erhebt den Herren

Meine Seele erhebt den Herren, BWV 648.

Chorale melody

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Tune of BWV 648
See also: Meine Seele erhebt den Herren

Tune: "Meine Seele erhebt den Herren" ("My soul doth magnify the Lord"), a German variant of the tonus peregrinus or ninth psalm tone.

Model

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See also: Meine Seel erhebt den Herren, BWV 10 § 5

Arranged from Meine Seel erhebt den Herren, BWV 10, movement 5 (duet for alto and tenor, chorale instrumental).

Ach bleib bei uns, Herr Jesu Christ, BWV 649

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See also: List of organ compositions by Johann Sebastian Bach § Ach bleib bei uns, Herr Jesu Christ

Ach bleib bei uns, Herr Jesu Christ, BWV 649.

Chorale melody

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Hymn tune: "Ach bleib bei uns, Herr Jesu Christ" ("Lord Jesus Christ, with us abide"), Zahn No. 493 (a.k.a. "Danket dem Herrn heut und allzeit").

Model

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See also: Bleib bei uns, denn es will Abend werden, BWV 6 § 3

Arranged from Bleib bei uns, denn es will Abend werden, BWV 6, movement 3 (soprano chorale).

Kommst du nun, Jesu, vom Himmel herunter, BWV 650

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See also: List of organ compositions by Johann Sebastian Bach § Kommst du nun, Jesu, vom Himmel herunter

Kommst du nun, Jesu, vom Himmel herunter, BWV 650.

Chorale melody

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Hymn tune: "Kommst du nun, Jesu, vom Himmel herunter auf Erden" ("Come thou, Jesu, from heaven to earth"), Zahn No. 1912a (a.k.a. "Hast du denn, Jesus, dein Angesicht gänzlich verborgen").

Model

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See also: Lobe den Herren, den mächtigen König der Ehren, BWV 137 § 2

Lobe den Herren, den mächtigen König der Ehren, BWV 137, movement 2 (alto solo).

Publication

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See also: List of compositions by Johann Sebastian Bach printed during his lifetime § Schübler Chorales

Reception

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In Bach's Nekrolog the Schübler Chorales were listed as the fifth item, after the four Clavier-Übung volumes, among the composer's printed works: "Sechs dreystimmige Vorspiele, vor eben so viel Gesänge, für die Orgel" (lit. 'six three-part preludes, to as many hymns, for the organ').[16] In 1776 Johann Friedrich Köhler [wikisource:de] wrote admiringly about the chorales.[17] Early Bach-biographies by Hiller (1784), Gerber (1790) and Forkel (1802) listed the six chorale preludes among Bach's printed works.[18][19][20] Forkel added that they were "full of dignity and religious feeling", and mentioned that the registration was sometimes indicated by Bach in greater detail than usual, for example in the second chorale (BWV 646).[21] At least seven manuscript copies of the preludes, based on the uncorrected or corrected original print, were realised before Breitkopf & Härtel republished them in the early 19th century.[22][23]

In 1847 C. F. Peters published the six Schübler Chorales, edited by Griepenkerl and Roitzsch [scores], as part of larger sets of chorale preludes.[24] Biographers Schauer (1850), Hilgenfeldt (1850) and Bitter (1865) included the chorales in their overviews of Bach's compositions.[25][26][27]

References

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Sources

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Manuscripts (chronological)

Publications

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Revisions and contributorsEdit on WikipediaRead on Wikipedia

Schübler Chorales

View on Grokipedia
from Grokipedia
The Schübler Chorales (German: Schübler-Choräle), BWV 645–650, are a set of six preludes for organ composed by Johann between 1747 and 1748. Named after Johann Georg Schübler, Bach's former pupil who engraved and published the collection around 1748 in Zella, , the works represent some of Bach's final published compositions for the organ. Five of the preludes are transcriptions adapted from arias or duets in Bach's earlier cantatas (composed during his period, 1724–1725), while BWV 646 is the only piece believed to be an original organ composition, as no vocal model survives. Published under the title Sechs Choräle von verschiedener Art ("Six Chorales of Various Kinds"), the collection showcases Bach's skill in reworking vocal textures for the organ's idiomatic capabilities, such as pedal lines and manual divisions, while preserving the lyrical and contrapuntal essence of the originals. The preludes draw on melodies central to German Protestant worship, emphasizing themes of faith, redemption, and divine comfort. Schübler, who had studied privately with Bach in during the early 1740s before becoming an organist and schoolteacher in Mehlis, engraved and published the collection as a showcase of his teacher's late-style innovations. This publication aligns with Bach's broader efforts in his final decade to compile and refine his organ oeuvre, including the Clavier-Übung series, reflecting a focus on pedagogical and devotional music. The contents of the Schübler Chorales are as follows, with their keys, chorale texts, and sources where applicable:
  • BWV 645: Wachet auf, ruft uns die Stimme ("Wake, Awake, for Night Is Flying") in E♭ major – transcription from the tenor aria (movement 4) of Cantata BWV 140.
  • BWV 646: Wo soll ich fliehen hin ("Whither Shall I Flee?") in E minor – original organ prelude.
  • BWV 647: Wer nur den lieben Gott lässt walten ("If Thou But Suffer God to Guide Thee") in C major – transcription from the soprano-alto duet (movement 4) of Cantata BWV 93.
  • BWV 648: Meine Seele erhebt den Herrn ("My Soul Doth Magnify the Lord") in D minor – transcription from the soprano-alto duet (movement 5) of Cantata BWV 10.
  • BWV 649: Ach bleib bei uns, Herr Jesu Christ ("Abide with Us, Lord Jesus Christ") in B♭ major – transcription from the alto aria (movement 6) of Cantata BWV 6.
  • BWV 650: Kommst du nun, Jesu, vom Himmel herunter ("O Jesus Christ, Inclining") in G major – transcription from the alto aria (movement 2) of Cantata BWV 137.
These pieces, totaling about 20 minutes in performance, remain staples of the due to their concise structures, expressive registrations, and profound theological depth, influencing generations of composers and performers in the and beyond.

Background

Historical Context

In 1723, Johann Sebastian Bach was appointed in , a position that required him to provide music for the city's main churches, including composing sacred cantatas for weekly services and feast days. This role marked a significant phase in Bach's career, where he produced a substantial body of vocal works to fulfill liturgical obligations within the Lutheran tradition. The source materials for the Schübler Chorales originated from cantatas composed between 1724 and 1731, a period that showcased Bach's mature style in sacred , particularly through his begun in . These works reflected Bach's deep engagement with Lutheran hymnody, integrating melodies into elaborate structures for church performance. During his late career in the mid-1740s, amid personal challenges, Bach shifted focus toward compiling and refining organ music, including arrangements of earlier compositions. The Schübler Chorales, arranged around 1746–1747 and published in 1748, emerged from this phase as a curated set for organ. Chorale preludes held a central role in Lutheran worship, serving as introductory organ pieces to prepare congregations for hymns or as interludes between verses, a practice Bach extensively explored. Bach composed over 200 such preludes across his career, making the Schübler set a selective compilation that highlighted refined examples from his broader oeuvre.

Overview of the Collection

The Schübler Chorales, formally titled Sechs Choräle von verschiedener Art, comprise a collection of six chorale preludes for solo organ with pedal, catalogued as BWV 645–650. These works, published in under Johann Sebastian Bach's supervision, represent transcriptions adapted from movements in his earlier cantatas, showcasing his skill in reworking vocal-orchestral material for the . Unlike Bach's more strictly liturgical organ compositions, the Schübler Chorales were intended primarily for or domestic performance, highlighting virtuosic demands on the through intricate pedal work and expressive manual lines. They share common features such as a lyrical, melodic style derived from models, a predominant trio texture, and concise durations of typically 2–4 minutes per piece, making them accessible yet technically engaging. The collection exhibits thematic unity centered on Lutheran chorale texts related to Advent anticipation, themes of consolation in affliction, and the Magnificat's song of praise, thereby upholding the devotional essence of the Protestant tradition while prioritizing musical artistry. This set forms part of Bach's late organ publications, akin to the chorale-based works in Clavier-Übung III, reflecting his mature synthesis of sacred function and performative appeal.

Musical Sources and Transcription

Origins in Cantatas

The Schübler Chorales represent Johann Sebastian Bach's practice of repurposing movements from his church cantatas into organ chorale preludes, a technique he employed to efficiently create new works for the organ while drawing on his established vocal compositions. This of material was common in Bach's oeuvre, allowing him to adapt arias and sinfonias for solo organ performance amid his demanding duties as cantor in , where new compositions tapered off in his later years. The sources for these transcriptions primarily come from Bach's Leipzig cycles. Five of the six chorales originate from specific cantata movements (1724–1731), while BWV 646 has no known vocal source and is considered an original organ composition or possibly from a lost cantata (date unknown, ca. 1725). The known sources include:
Schübler ChoraleSource CantataDateMovement Adapted
BWV 645 (Wachet auf, ruft uns die Stimme)BWV 1401731Fourth movement (tenor chorale with unison strings and continuo)
BWV 646 (Wo soll ich fliehen hin)Unknown (possibly lost cantata)Unknown (ca. 1725)N/A
BWV 647 (Wer nur den lieben Gott lässt walten)BWV 931724Fourth movement (soprano/alto duet with continuo)
BWV 648 (Meine Seele erhebt den Herrn)BWV 101726Fifth movement (alto/tenor duet with violin obbligato)
BWV 649 (Ach bleib bei uns, Herr Jesu Christ)BWV 61725Third movement (soprano aria with strings)
BWV 650 (Kommst du nun, Jesu, vom Himmel herunter)BWV 1371725Second movement (soprano aria with strings)
These adaptations typically transform soprano solos or instrumental duets/trios from the cantatas into organ trio sonatas, assigning the melodic lines to the upper manuals and the bass to the pedal, thereby preserving the polyphonic texture while suiting the organ's capabilities. This process highlights Bach's skill in reworking vocal and orchestral elements for a solo , often enhancing the contrapuntal independence of voices.

Transcription Techniques

In adapting movements from his s into the Schübler Chorales, Johann Sebastian Bach employed a systematic approach to redistribute vocal and instrumental parts across the organ's manuals and pedal, transforming ensemble textures into idiomatic solo organ writing. Typically, the principal melody—often carried by a or voice in the original —was assigned to the right hand on the upper manual, while accompanying lines, such as those from an obbligato instrument or secondary voice, were transferred to the left hand on the lower manual. The continuo bass line, foundational to the structure, was relegated to the pedal, creating a trio-sonata-like texture that exploited the organ's polyphonic capabilities while ensuring clarity and balance. This revoicing preserved the contrapuntal interplay of the sources, allowing the to convey multiple independent lines simultaneously. Bach further simplified the orchestration of these cantata movements by omitting extraneous orchestral elements, such as or accompaniments, to focus on the core melodic and contrapuntal essence. For instance, in pieces originally featuring a full ensemble, only the essential duo or trio of voices was retained, reducing complexity without sacrificing the structural integrity or rhythmic vitality of the originals. This streamlining not only facilitated practical performance on the organ but also highlighted the chorale's thematic material, making the preludes more suitable as standalone introductions to congregational hymns. Such adaptations emphasized Bach's skill in distilling elaborate vocal-instrumental writing into concise organ forms. To align the transcriptions with organ conventions, Bach often added or reinforced pedal lines, granting the bass greater and rhythmic drive than in the cantata continuo. This enhancement transformed passive supporting roles into active contrapuntal participants, enriching the overall texture and idiomatic expression. Concurrently, affective elements like ornamentation and implied dynamics from the cantatas were largely retained, with subtle modifications—such as adjusted phrasing or slight rhythmic tweaks—to improve playability and sustain the emotional resonance on the organ. These changes ensured the chorales remained evocative while functioning effectively as independent keyboard works.

The Individual Chorales

Wachet auf, ruft uns die Stimme, BWV 645

"Wachet auf, ruft uns die Stimme, BWV 645" is the first chorale prelude in the Schübler collection, based on the of the same name composed by Philipp Nicolai in 1599. This Advent , drawing from the biblical parable of the wise and foolish virgins in , features a 12-bar in the , emphasizing a somber yet anticipatory tone suitable for the liturgical season. Bach adapts the second stanza of the , "Zion hört die Wächter singen," as the , presenting it in long notes primarily in the register. The work originates as a transcription of the fourth movement from Bach's chorale cantata Wachet auf, ruft uns die Stimme, BWV 140, composed around 1731 during his period. This movement is a solo tenor aria accompanied by an obbligato , which Bach reworks for solo organ by assigning the flowing violin line to the right-hand manual, while the tenor chorale appears in the left hand. The line is assigned to the pedal, creating a concise yet expressive adaptation that retains the vocal intimacy of the original without additional embellishments beyond subtle suspensions and ornaments. Musically, BWV 645 employs a texture between the two manuals, with the right hand delivering a , compound in 12/8 time that evokes a gentle, motion reminiscent of Italian concerto styles. This rhythmic foundation supports episodes of increasing intensity, built through imitative entries and decorative figurations that gradually unfold the phrases, culminating in a full statement of the . The pedal provides steady harmonic support but enters somewhat later, heightening the dramatic effect as it reinforces the bass line during key structural points. A distinctive element of the prelude is its evocation of the watchman's call from the text, achieved through the undulating, call-like phrases in the upper voice that mimic a distant , drawing listeners into the of spiritual awakening. This programmatic quality, combined with the delayed pedal entry, underscores the piece's role as an evocative prelude, blending lyrical writing with organ-specific color.

Wo soll ich fliehen hin, BWV 646

The chorale prelude Wo soll ich fliehen hin, BWV 646, is based on the of the same name by Johann Heermann, composed in 1630 as a penitential plea for divine refuge amid sin and suffering. The hymn's melody consists of an 8-bar phrase in the , emphasizing themes of despair turning to consolation through God's mercy. Unlike the other preludes in the Schübler collection, which are transcriptions from Bach's earlier s, no vocal source has been identified for BWV 646, suggesting it may be an original organ composition or derived from a now-lost movement. The piece adopts a texture typical of Bach's organ style, with the melody presented plainly in long notes in the pedal as a foundational bass line. In the manuals, the right hand introduces a fugal subject derived from the chorale's opening motif—a rapid descending group of seven notes symbolizing the "flow of Christ's sacred blood" for redemption—while the left hand provides supporting and bass. This strict fugal working unfolds introspectively over approximately two minutes in , incorporating chromatic lines in the upper voices to heighten emotional tension reflective of the text's anguish. The work concludes in , affirming the hymn's message of hopeful .

Wer nur den lieben Gott lässt walten, BWV 647

"Wer nur den lieben Gott lässt walten," BWV 647, is the third chorale prelude in Bach's collection of six, drawing its melody from Georg Neumark's 1641 of the same name, a seven-stanza text emphasizing Christian trust and reliance on amid adversity. The 's tune consists of an 8-bar phrase structure in (AAB), set in the , which lends it a contemplative and resolute character suited to themes of submission to God's will. This organ work originates as a transcription of the fourth movement—a duet for and —from Bach's cantata BWV 93, composed in 1724 for the Fifth Sunday after Trinity. In the cantata, the carries the unadorned melody while the weaves a derived from the , accompanied by an obbligato ; Bach adapts this by assigning the flute's lyrical line to one manual voice, the alto's to the other, and transferring the to the pedal on a 4' stop, creating a chamber-like intimacy within the organ's capabilities. Musically, BWV 647 unfolds in a texture, featuring two independent upper voices on separate manuals engaging in imitative dialogue, underpinned by the pedal's foundational role in both bass support and presentation. The lilting 3/8 meter imparts a gentle, sway, evoking serenity and forward momentum that mirrors the hymn's message of peaceful surrender to divine guidance. A distinctive feature is the subtle ornamentation applied to the in the pedal, where Bach adds graceful embellishments to the original vocal line, heightening expressive depth and underscoring the theological emphasis on humble trust and . This approach not only highlights the pedal's melodic potential but also integrates the seamlessly into the contrapuntal fabric, fostering a of unified devotion.

Meine Seele erhebt den Herrn, BWV 648

The chorale prelude Meine Seele erhebt den Herrn, BWV 648, is based on Martin Luther's German translation of the from 1521, drawn from the biblical text of :46–55, and set to an eight-bar melody derived from the ancient known as the tonus peregrinus. This melody, traditionally associated with the Song of Mary in Lutheran worship, employs a with its characteristic half-step between the second and third degrees, creating a mode that blends recitation and melodic contour for expressive praise. BWV 648 originates as a transcription of the fifth movement, "Er denket der Barmherzigkeit," from Bach's Meine Seel erhebt den Herren, BWV 10, composed in 1724 for the Feast of the Visitation. In the , this duet for and voices is accompanied by an instrumental played by trumpet and two oboes over the continuo; Bach adapted these obbligato lines for the organ's two manuals, with the pedal providing bass support, preserving the original's contrapuntal dialogue while shifting the vocal parts to manual interplay. Musically, the prelude features ornamented variations on the melody, where the tonus peregrinus is presented in imitative entries between the manuals, interspersed with florid passages that embellish the theme through scalar runs and rhythmic vitality. The bass line, while suggesting an through its recurring motifs at the phrase openings and closings, introduces harmonic variations that enhance the structure's fluidity, allowing the to migrate between voices in a variational manner. This results in a joyful and exultant character, emphasizing themes of divine praise through buoyant, ascending lines that evoke spiritual elevation and celebration.

Ach bleib bei uns, Herr Jesu Christ, BWV 649

Ach bleib bei uns, Herr Jesu Christ, BWV 649, is the fifth chorale prelude in Bach's Schübler Chorales, BWV 645–650, composed around 1748–1749 as an organ arrangement of a vocal movement from his earlier works. The piece draws on the hymn "Ach bleib bei uns, Herr Jesu Christ," authored by Nikolaus Selnecker and first published in 1587, which features an 8-bar melody in the Ionian mode and paraphrases the biblical plea from Luke 24:29 for Christ's abiding presence as evening approaches. This hymn text, emphasizing divine light amid encroaching darkness, aligns with vespers themes in Lutheran liturgy, evoking an eschatological sense of time transitioning to eternity. The prelude is a transcription of the soprano chorale from movement 3 of BWV 6, Bleib bei uns, denn es will Abend werden, premiered on in 1725. In the cantata, the chorale is sung by with violin obbligato accompaniment, which Bach adapts for organ by assigning the obbligato line to the right hand while the vocal melody appears in the middle voice, creating a compact trio texture. This arrangement preserves the original's rhythmic vitality and expressive phrasing, transforming the orchestral elements into idiomatic organ writing suitable for manual and pedal. Musically, BWV 649 unfolds as a gentle , with the pedal providing sustained notes that underpin a melody in the right hand, fostering a serene, flowing among the voices. The structure emphasizes simplicity and elegance, eschewing dense for a light, that highlights the hymn's prayerful intimacy through subtle harmonic progressions and melodic ornamentation. This subdued mood, enriched by tonal warmth in , conveys a devotional plea for Christ's enduring presence, distinguishing it as a contemplative evening piece within Bach's organ oeuvre.

Kommst du nun, Jesu, vom Himmel herunter, BWV 650

The melody for BWV 650 originates from Johann Georg Ebeling's 1666 setting in his collection Geistliche Andachten, composed to accompany the Advent text "Kommst du nun, Jesu, vom Himmel herunter" by (the pseudonym of Johann Scheffler), a 14-bar phrase structured in the . This , known for its lyrical descent evoking heavenly longing, was later adapted to other hymns, including English translations like "Praise to the Lord, the Almighty." In Bach's prelude, the appears ornamented in the pedal, serving as the to underscore the theme of Christ's anticipated descent. BWV 650 elaborates on the alto aria from the second movement of BWV 137, Lobe den Herren, den mächtigen König der Ehren (composed around 1725 for the twelfth Sunday after ), transforming the original string-accompanied vocal line into an extended organ solo with added pedal . Bach expands the aria's bass line into a prominent pedal solo, integrating the melody phrase by phrase while developing the accompanying material into contrapuntal textures, creating a sense of dramatic progression suitable for Advent reflection on the . Musically, the piece unfolds as a multi-section in , where the enters incrementally in the pedal against imitative entries in the manuals, building intensity through strettos and augmentation to a climactic resolution; at approximately four minutes, it stands as the longest in the Schübler set.) A distinctive dramatic descent motif in the pedal, enriched by chromatic passing tones, symbolizes the —Christ's humble coming from heaven to earth—while the fugal episodes evoke joyful anticipation. This structure exemplifies the intricate fugal techniques in Bach's late organ works, blending transcription with original elaboration for expressive depth.

Publication

Schübler's Role and Edition

Johann Georg Schübler (c. 1720–after 1755), an , printer, and from Zella in , was a private student of Johann Sebastian Bach in during the early 1740s and later became acquainted with the composer's circle through collaborative projects. Hailing from a family of skilled artisans in iron cutting and music , Schübler handled the copperplate for several of Bach's late works, including the Musical Offering (BWV 1079) and the collection now known as the Schübler Chorales (BWV 645–650). Based in Zella St. Blasii as a publisher and from 1747 to 1753, he also served as an and schoolteacher in nearby Mehlis, reflecting his multifaceted involvement in music and craftsmanship. Schübler published the edition in Zella St. Blasii around 1747, with distribution beginning by August 1748; it represents the first printed collection of Bach's organ chorale preludes from his late period and one of only a handful of his works issued during his lifetime. The full title, Sechs Choräle von verschiedener Art auf einer Orgel mit 2 Clavieren und Pedal vorzuspielen, verfertiget von Johann Sebastian Bach, emphasizes their suitability for performance on a two-manual organ with pedal. Bach personally supervised the production, as indicated by over 125 corrections and additions in his hand on extant copies, ensuring fidelity to his intentions. The engraving quality is characterized by precise and readable notation on copperplates, a standard for mid-18th-century German music printing, which facilitated professional use without supplementary aids. Notably absent are fingerings or organ registrations, presuming the technical proficiency of intended players such as church organists. Six copies of this original edition are known to survive, highlighting its historical scarcity.

Distribution and Availability

The Schübler Chorales were initially distributed through Johann Georg Schübler's publishing efforts in Zella-St. Blasii, , leveraging local artisan networks and connections to , where Bach supervised the project; distribution was also handled by Johann Sebastian Bach and his sons and . Sales targeted organists, church musicians, and nobility in central Germany, with copies reaching patrons in and who supported sacred music performance. Six copies of the 1748 first edition are known to survive from the , preserved through institutional collections and family holdings, including those associated with Bach's sons such as C.P.E. Bach. These extant examples are held in locations like the Staatsbibliothek zu Berlin-Preußischer Kulturbesitz and the Bach-Archiv , ensuring the work's textual integrity without significant variants. Early 19th-century reprints expanded access, notably through Breitkopf & Härtel's multi-volume edition of Bach's organ chorales published starting in 1803, which incorporated the Schübler set and distributed it to a broader European audience of performers and scholars. In modern times, the chorales are readily available via digital platforms, including high-resolution facsimiles and scores from the Bach-Archiv Leipzig's Bach Digital portal, which provides to the digitized original edition held in its collection. No major lost variants have been identified, allowing for faithful reproductions in contemporary editions.

Reception and Legacy

18th and 19th Centuries

In the , the Schübler Chorales garnered limited contemporary reviews following their publication in , yet they were valued for their pedagogical potential by Bach's pupils. emphasized the chorales' role in training students to harmonize melodies and develop contrapuntal skills, reflecting their integration into German organ pedagogy during the late and early Classical periods. The marked a significant revival of the Schübler Chorales amid the broader Bach Renaissance, initiated by Felix Mendelssohn's advocacy. In the late and early , Mendelssohn performed and edited selections from Bach's , including the Schübler Chorales in the first fascicle of his Breitkopf & Härtel edition, which introduced these works to a wider Romantic-era audience and highlighted their lyrical and expressive qualities. This effort sparked renewed interest, positioning the chorales as exemplars of Bach's mastery in adapting movements for solo organ. echoed this enthusiasm in his writings for the Neue Zeitschrift für Musik, praising Bach's chorales—including those like the Schübler set—for their contrapuntal purity and emotional depth, which he saw as ideals for modern composition. Franz Liszt further popularized the chorales through his 1850s piano transcriptions of select Bach organ works, showcasing virtuoso technique while preserving their devotional essence, thereby bridging with 19th-century pianism. Scholarly efforts culminated in the Bach-Gesellschaft edition, where the complete Schübler Chorales appeared in volume 25 (1878), edited by Ernst Naumann, providing a critical text that solidified their place in Bach's catalog and facilitated further study and performance.

20th Century and Modern Interpretations

The revival of interest in Johann Sebastian Bach's organ music during the early 20th century was significantly propelled by Albert Schweitzer's seminal 1905 analysis in his book J. S. Bach, where he examined the Schübler Chorales as exemplars of Bach's interpretive depth in chorale preludes, emphasizing their poetic expression and technical innovation. This work laid foundational groundwork for the neo-Baroque movement, advocating for practices on period instruments and influencing organ builders and performers to restore Baroque-style organs across and . Schweitzer's collaboration with on critical editions further embedded the chorales in modern organ pedagogy, promoting their role in bridging vocal movements with instrumental transcription. Scholarly attention intensified in the late with Peter Williams' multi-volume The Organ Music of J. S. Bach (1980–1984), which devoted detailed chapters to the aesthetic and structural aspects of the Schübler Chorales as transcriptions, highlighting their synthesis of contrapuntal vocal lines into solo organ textures and their implications for performance ornamentation. The Neue Bach-Ausgabe (NBA), commencing in the and including the chorales in Series IV/1 edited by Heinz-Harald Löhlein (1983), provided critical source-based editions with extensive notes on variants, authorship, and historical context, becoming the standard reference for scholars and performers through the 2000s. These editions underscored the chorales' place in Bach's late oeuvre, informing ongoing debates about their canonic status within his organ corpus. Modern performances have elevated the Schübler Chorales to virtuoso staples, with Marie-Claire Alain's 1959–1967 recordings on historical instruments capturing their lyrical intimacy and dynamic range, setting a benchmark for clarity and registration choices in the analog era. Ton Koopman's interpretations, such as those from the 1990s on period organs, emphasize rhythmic vitality and -like transparency, reflecting the neo-Baroque emphasis on dance-like elements in the preludes. Adaptations have extended their reach, appearing in various orchestral and arrangements. As enduring symbols of Bach's fusion of vocal and idioms, the Schübler Chorales remain core in conservatories worldwide, taught for their pedagogical value in transcription techniques and expressive phrasing. Occasional contemporary arrangements, such as those for wind or , explore their melodic lines in new timbres while preserving contrapuntal integrity, ensuring their adaptability in diverse musical contexts. In the , their legacy continues with new recordings, such as those featured in 2021 collections on historical instruments, maintaining their relevance in both scholarly and performative spheres.

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