92:, written by Bach himself, the composer was so impressed with the poetry that it suggested to him a novel kind of song setting; he proceeded to create settings for all 54 of Gellert's poems – however, in Bach's collection the order of poems is completely different from Gellert's volume. The volume was published by George Ludewig Winter in 1758; Bach's foreword is dated February 1, 1758. Both Gellert's poetry and Bach's setting of it enjoyed considerable popularity: several more collections of settings of Gellert's poems appeared, including some by distinguished composers such as the famous music theorist
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Each of
Gellert's poems comprises several stanzas, and the structure of stanzas remains the same throughout a given poem. Thus Bach's settings provide music for a single stanza, to be repeated and improvised upon, for as many times as there are stanzas in a poem. Contrary to later song cycles, the
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was reprinted five times, with the last edition appearing in 1784. Bach's setting remained the only complete one, covering all 54 poems. The success of this collection inspired Bach to produce more sacred
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performers from ruining the music. Nevertheless, the parts are sufficiently simple and unornamented as to allow a generous amount of ornamentation and improvisation by the performer.
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practice: Bach himself noted in the preface that he added harmonies to his melodies in order to prevent incompetent
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music is written on two staves instead of three. The style of the accompaniment grows out of the
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212:The Music of Carl Philipp Emanuel Bach
299:Die Auferstehung und Himmelfahrt Jesu
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207:, In Macy, Laura. Grove Music Online.
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367:(1998–2018)
359:(1982–1995)
281:La Caroline
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325:Passions
375:Related
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125:psalms
121:lieder
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28:lieder
412:Audio
272:Works
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156:Notes
216:ISBN
139:Form
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