445:
438:. When he composed these works, music without an independent orchestra on texts limited to biblical words and a chorale without contemporary poetry, the genre was already out of fashion, but there was evidently a demand for such works at funerals, a ceremony for which at least some of Bach's motets were written.
523:
Was Bach copying or composing here? We cannot be totally sure, but from the evidence of the way the score is presented it suggests this was indeed composed by Bach, in which case it is the earliest surviving motet of his, dating from c. 1712/13, or possibly earlier, when he was employed at the Ducal
355:
sung by the soprano. Over-all the complexity and style of this movement's setting appears closer to similar works by a young Johann
Sebastian than to somewhat less comparable works by a mature Johann Christoph. The closing chorale, a four-part setting of the "Warum betrübst du dich, mein Herz" hymn
582:. At night Jacob is approached by a mysterious figure who engages him in a wrestling match in which Jacob prevails, although an injury received during the fight results in a lifelong limp. Jacob insists on being blessed by the man, thought to be a
356:
tune, has the two last stanzas of that hymn as text. Leipzig performances of Bach's motets usually closed on the last stanzas of a hymn, so it can not be excluded that the chorale was added to the motet by Bach, some time after his appointment as
367:
The lingering attribution issue complicated the motet's reception history. In
Leipzig, the motet was performed as Johann Sebastian's from the 18th to well into the 19th century. In the second half of the 18th century, Johann Sebastian's son
441:
There is scholarly debate about the exact number of motets attributable to Bach, and, as in some cases the circumstances of the first performance are not known, nor their function.
1171:
301:: the oldest extant manuscript of its first movement was partly written by Johann Sebastian, in 1712, or early 1713 at the latest. Its second movement is without doubt a
469:
described the piece as "one of the most beautiful works of German church music" but not "authentic", therefore giving Johann
Christoph Bach as the composer. When
302:
28:
1180:
343:". Such a mixture of scripture and chorale texts was common for motets of the generation before Johann Sebastian, as also its eight-part setting. The
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1244:
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mentioned Johann
Christoph Bach as the composer, but in the second added that "the source evidence didn't permit a definite attribution".
297:, Johann Sebastian's father's cousin, after which its attribution became a matter of discussion among scholars. The motet consists of two
841:
737:
1366:
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772:
660:'s, recorded in 1995, and Otto Kargl's, recorded in 2008. On the other hand, the motet is included, with a recording time of 5:08, in
1175:
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485:, he consequently omitted it, but it was printed in the appendix. Other authorities had doubted this attribution, for example
1276:
1208:
396:(NBE) published the motet, while expressing reserves about its authenticity. Containing several motets by Johann Christoph,
1329:
597:
515:
period around 1712. The chorale is a transcription of one of his organ pieces and was possibly added in the 19th century.
477:
in 1950, he followed Wüllner, placing the motet in the appendix and assigning "presumably by Johann
Christoph Bach". When
340:
327:
composition for eight voices without any form of instrumental accompaniment. The text of its first movement consists of a
136:
1320:
1155:
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384:(old-Bachian archive, ABA), a collection of mostly 17th-century compositions by his ancestors. Both the 19th-century
587:
332:
132:
1312:
648:", set for four parts. It is one of Bach's chorale settings, BWV 421, and was possibly added in the 19th century.
676:
recording, with the Bach
Collegium Japan, includes the motet without the closing chorale (recording time: 4:01).
397:
794:
790:
319:
Notwithstanding an 18th-century catalogue entry apparently describing the motet as a work for four voices with
1260:
530:
457:, then known as only the first movement, was attributed in the 19th century to both Johann Sebastian Bach and
534:. Indeed it feels almost like a tribute from Bach to his elder cousin whom he dubbed 'the profound composer'.
738:
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The closing chorale was not part of the score but appeared first in the first print of the motet in 1802 by
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court in Weimar. In terms of style it gives the impression of occupying a mid way point between that of
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in 1999. Bach scholars now assume that J. S. Bach composed the first movement, possibly during his
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739:"Ich lasse dich nicht, du segnest mich denn BWV 1164; BWV Anh. 159; BC C 9; ABA deest (NV 17)"
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when it was first published in 1802. Around 1823 the motet was published as a composition by
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in 1787, transposed it from A minor to F minor and adjusted the time to the motet.
519:, who recorded Bach motets including this one in 2011, comments on the authorship:
431:
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118:
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947:"Chorale Melodies used in Bach's Vocal Works / Warum betrübst du dich, mein Herz"
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504:
427:
1181:
Ich lasse dich nicht, du segnest mich denn, BWV Anh. 159 (Johann
Sebastian Bach)
669:
656:
Examples of complete recordings of Bach's motets without BWV 1164 include
621:. In the second section, the choir is no longer divided, the soprano sings the
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1355:
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Questions of authenticity in three motets attributed to Johann
Sebastian Bach
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from whose anger he had fled many years before, after tricking his father
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The text for the first movement of the motet is a verse taken from the
324:
107:
810:
27:
This article is about the motet. For the similarly named cantata, see
925:"Warum betrübst du dich, mein Herz / Text and Translation of Chorale"
873:
626:
590:). The motet for double choir is followed by the third stanza of the
583:
579:
344:
802:
275:
94:
503:, a collection of music of the Bach family which the Bach scholar
499:
in two movements was found, written partly in Bach's hand, in the
426:(motets on gospel texts) of the 17th century by composers such as
610:
122:
79:
712:"Motet BWV Anh 159 / Ich Lasse Dich Nicht, Du Segnest Mich Denn"
688:
in 1980, but included it in the 2011 live recording of the set.
570:'s return to Canaan, just before he is due to meet his brother
512:
575:
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of the chorale, while the lower voices engage in imitative
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376:, joined the early manuscript of its first movement to the
286:
244:
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1088:
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1325:(BWV Anh. 159, also attributed to Johann Christoph Bach)
546:. He found the setting in Bach's chorales collected by
847:. monteverdi.org.uk. pp. 6, 10–11. Archived from
969:"Movements from Bach's Vocal Works / Chorale BWV 421"
578:
into blessing him with the blessing belonging to the
335:
in most
English Bibles), and the third stanza of the
1216:
312:, when a version of this setting was copied in the
29:
Ich lasse dich nicht, du segnest mich denn, BWV 157
400:'s 1935 edition of the ABA pieces did not include
613:in two sections and scored it for double chorus,
1353:
557:
420:Bach wrote his motets in the tradition of the
1202:
939:
782:Journal of the American Musicological Society
262:(I will not let you go unless you bless me),
1043:The Apocryphal Bach Motets: BWV Anh. 159–165
643:
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617:– SATB and unspecified instruments playing
1317:(BWV 1149, arrangement attributed to Bach)
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1066:The Sacred Apocryphal Bach (8 CD set)
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899:Ich lasse dich nicht, du segnest mich denn
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257:Ich lasse dich nicht, du segnest mich denn
1176:International Music Score Library Project
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303:chorale harmonisation by Johann Sebastian
71:I will not let you go unless you bless me
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1297:(BWV 118, formerly listed as a cantata)
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406:recordings of Johann Sebastian's motets
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1143:J. S. Bach and the German Motet
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465:. In the Bach-Ausgabe, the editor
25:
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1367:Bach: spurious and doubtful works
1294:O Jesu Christ, meins Lebens Licht
1172:Ich lasse dich nicht, BWV Anh.159
1165:
684:, recorded Bach's motets without
645:Dir, Jesu, Gottes Sohn, sei Preis
639:Warum betrübst du dich, mein Herz
598:Warum betrübst du dich, mein Herz
341:Warum betrübst du dich, mein Herz
137:Warum betrübst du dich, mein Herz
1016:Cookson, Michael (10 May 2010).
879:The University of Arizona, 1992.
609:Bach structured the movement in
1362:Motets by Johann Sebastian Bach
1238:Singet dem Herrn ein neues Lied
1099:
1075:
1059:
1035:
983:
1309:according to Bach's autograph)
866:
795:University of California Press
791:American Musicological Society
632:The added chorale in the same
489:, who in the first edition of
13:
1:
1302:Tilge, Höchster, meine Sünden
1289:(BWV 28/2a, formerly BWV 231)
840:Gardiner, John Eliot (2012).
773:"The Authorship of the Motet
691:
651:
481:edited Bach's motets for the
306:
186:
177:
1330:Jauchzet dem Herrn alle Welt
1305:(BWV 1083, after Pergolesi:
1278:Lobet den Herrn, alle Heiden
586:, before he lets go of him (
7:
1286:Sei Lob und Preis mit Ehren
1140:Melamed, Daniel R. (1995).
771:Melamed, Daniel R. (1988).
636:is the eighth stanza from "
558:Text, scoring and structure
408:are issued with or without
10:
1383:
1148:Cambridge University Press
905:(in German). hz.imslp.info
666:The Apocryphal Bach Motets
351: 1689a, appears as a
331:, Genesis 32:27 (which is
323:, it is transmitted as an
26:
1340:
1333:(BWV Anh. 160 = TWV 8:10)
1232:
777:(BWV Anh. 159)"
552:Johann Philipp Kirnberger
388:Bach-Gesellschaft Ausgabe
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36:
548:Carl Philip Emanuel Bach
540:Johann Gottfried Schicht
392:(BGA) and the 1954–2007
1027:.musicweb-international
991:J. S. Bach: Motets
644:
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475:Bach-Werke-Verzeichnis
451:
386:
378:
364:in that city in 1723.
358:
256:
226:Breitkopf & Härtel
38:
1314:Der Gerechte kömmt um
1224:Johann Sebastian Bach
971:. Bach-Cantatas. 2015
949:. Bach-Cantatas. 2007
927:. Bach-Cantatas. 2007
588:Genesis 32:26
526:Johann Christoph Bach
521:
459:Johann Christoph Bach
449:Johann Christoph Bach
447:
333:Genesis 32:26
295:Johann Christoph Bach
291:Johann Sebastian Bach
195:or earlier (2nd mvt.)
174:or earlier (1st mvt.)
133:Genesis 32:26
61:Johann Christoph Bach
53:Johann Sebastian Bach
39:Ich lasse dich nicht,
1322:Ich lasse dich nicht
896:Pages, Kurt (2012).
775:Ich lasse dich nicht
751:; et al. 2019-05-27.
710:Oron, Aryeh (2013).
501:Altbachisches Archiv
497:Ich lasse dich nicht
455:Ich lasse dich nicht
402:Ich lasse dich nicht
380:Altbachisches Archiv
370:Carl Philipp Emanuel
235:2 (2nd added later?)
41:du segnest mich denn
678:John Eliot Gardiner
566:and the account of
517:John Eliot Gardiner
416:History and context
1262:Fürchte dich nicht
1254:Jesu, meine Freude
531:Fürchte dich nicht
491:his Bach biography
471:Wolfgang Schmieder
452:
423:Evangelienmotetten
135:; 3 stanzas from "
1349:
1348:
680:, conducting the
483:Neue Bach-Ausgabe
314:Dietel manuscript
272:(renumbered from
251:
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59:
16:(Redirected from
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1270:Komm, Jesu, komm
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714:. Bach-Cantatas
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1019:Bach: Motets
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975:14 September
973:. Retrieved
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953:14 September
951:. Retrieved
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931:14 September
929:. Retrieved
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909:14 September
907:. Retrieved
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856:. Retrieved
849:the original
819:. Retrieved
815:the original
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749:Bach Archive
744:Bach Digital
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716:. Retrieved
686:BWV Anh. 159
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360:Thomaskantor
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123:BWV 421
92: 1164 (
80:F minor
1343:Discography
1113:Bach Motets
797:: 491–526.
747:. Leipzig:
718:8 September
674:Bach Motets
619:colla parte
404:. Complete
374:Bach family
310: 1735
190: 1735
181: 1735
158: 1689a
1356:Categories
1121:.muziekweb
1091:.muziekweb
1070:ArkivMusic
1051:.muziekweb
999:.muziekweb
821:2019-12-21
692:References
652:Recordings
528:and, say,
325:a cappella
108:A cappella
58:also attr.
1281:(BWV 230)
1273:(BWV 229)
1265:(BWV 228)
1257:(BWV 227)
1249:(BWV 226)
1241:(BWV 225)
858:27 August
627:polyphony
584:theophany
580:firstborn
542:, also a
345:hymn tune
299:movements
232:Movements
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86:Catalogue
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672:'s 2009
349:Zahn No.
281:), is a
276:BWV Anh.
163:Composed
156:Zahn No.
152:Based on
144:Language
117:(to 2nd
95:BWV Anh.
18:BWV 1164
1307:motetto
611:F minor
243:double
240:Scoring
215:Leipzig
207: (
184: (
168: (
114:Related
68:English
1218:Motets
1154:
811:831462
809:
513:Weimar
461:, his
329:dictum
268:
147:German
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568:Jacob
283:motet
247:choir
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977:2015
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550:and
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434:and
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170:1713
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121::)
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