Guide The Son of God is Come, from Seventy-Nine Chorales, Op. 28, No. 28

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The song was used like an anthem by Sweden during the Thirty Years' War.

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German lyrics with Hedge translation: [6]. Ein feste Burg ist unser Gott, ein gute Wehr und Waffen. Er hilft uns frei aus aller Not, die uns jetzt hat betroffen. Fragst du, wer der ist? Das Wort sie sollen lassen stahn und kein' Dank dazu haben; er ist bei uns wohl auf dem Plan mit seinem Geist und Gaben. A mighty fortress is our God, A bulwark never failing: Our helper He, amid the flood Of mortal ills prevailing. For still our ancient foe Doth seek to work his woe; His craft and power are great, And armed with cruel hate, On earth is not his equal.

Did we in our own strength confide, Our striving would be losing; Were not the right Man on our side, The Man of God's own choosing.

Guide Come Now, Saviour of the Heathen, from Seventy-Nine Chorales, Op. 28, No. 59

Dost ask who that may be? And though this world, with devils filled, Should threaten to undo us, We will not fear, for God hath willed His truth to triumph through us. His doom is sure,— One little word shall fell him. That word above all earthly powers— No thanks to them—abideth; The Spirit and the gifts are ours Through him who with us sideth. Let goods and kindred go, This mortal life also: The body they may kill: God's truth abideth still, His kingdom is for ever.

Luther composed the melody, named "Ein feste Burg" from the text's first line, in meter This is sometimes denoted "rhythmic tune" to distinguish it from the later isometric variant, in The original melody is extremely rhythmic , by the way it bends to all the nuances of the text While 19th-century musicologists disputed Luther's authorship of the music to the hymn, that opinion has been modified by more recent research; it is now the consensus view of musical scholars that Luther did indeed compose the famous tune to go with the words.

Heinrich Heine wrote in his essay De L'Allemagne depuis Luther , a history of emancipation in Germany beginning with the Reformation , that "Ein feste Burg" was the Marseillaise of the Reformation. In addition to being consistently popular throughout Western Christendom in Protestant hymnbooks, it is now a suggested hymn for Catholic Masses in the U.

79 Chorales, Op. 28: XLII. Jesus, My Joy

The first English translation was by Myles Coverdale in with the title, "Oure God is a defence and towre". Jacobi's Psal. An English version less literal in translation but more popular among Protestant denominations outside Lutheranism is "A mighty fortress is our God, a bulwark never failing", translated by Frederick H. Hedge in ; this version is the one included in the United Methodist Hymnal. Another popular English translation is by Thomas Carlyle and begins "A safe stronghold our God is still".


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Most North American Lutheran churches have not historically used either the Hedge or Carlyle translations. Traditionally, the most commonly used translation in Lutheran congregations is a composite translation from the Pennsylvania Lutheran Church Book "A mighty fortress is our God, a trusty shield and weapon". In more recent years a new translation completed for the Lutheran Book of Worship "A mighty fortress is our God, a sword and shield victorious" has also gained significant popularity.

He used strains of the tune in his Christmas Oratorio.

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George Frideric Handel used the melody in his Solomon , which is probably a wrong attribution. Felix Mendelssohn used it as the theme for the fourth and final movement of his Symphony No. Giacomo Meyerbeer quoted it in his five-act grand opera Les Huguenots , and Richard Wagner used it as a "motive" in his "Kaisermarsch" "Emperor's March" , which was composed to commemorate the return of Kaiser Wilhelm I from the Franco-Prussian War in Claude Debussy quoted the theme in his suite for piano duet, En blanc et noir.

Ralph Vaughan Williams used the tune in his score for the film 49th Parallel , most obviously when the German U-boat surfaces in Hudson Bay shortly after the beginning of the film. Eastman's use of the hymn can arguably be seen as simultaneously a claim for inclusion in the tradition of "classical" composition, as well as a subversion of that very same tradition. Mauricio Kagel quoted the hymn, paraphrased as "Ein feste Burg ist unser Bach", in his oratorio Sankt-Bach-Passion , which tells Bach's life and was composed for the tricentenary of Bach's birth in From Wikipedia, the free encyclopedia.

Hymn by Martin Luther. Hedge English translation. The German text of "Ein feste Burg" sung to the isometric, more widely known arrangement of its traditional melody. Christianity portal. Louis: Concordia Publishing House, , , No. If time was a factor, why expend effort reshaping and transposing it? As is so often the case, Bach leaves us with a mass of contradictory evidence and a number of puzzles.

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Perhaps the safest course is to assume that, consummate practical professional that he was, he knew precisely what he wanted, did not cut corners and, whatever the effort required, produced precisely what he knew to be the right music for any given text and circumstance. It is a reference to the traditional pre-Reformation Rogation processions which blessed the newly-seeded fields but were suppressed by Luther.

Cantata 86 movements, scoring, incipits, key, meter. Aria da-capo trio [Alto; Violino solo, Continuo]: A. Chorale plain [SATB; instruments not indicated,? In the context of who we were, where we were and to whom we were singing and playing, this opening cantata had a particular poignancy. With almost any other composer the treatment of this subject matter could easily come over as crass, impertinent even, since it invites the listener to ask how these words of Jesus can be reconciled with his or her own experience.

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It illustrates the hazardous business of negotiating the thorns in order to reach the blooms metaphor for spiritual joy and beauty. Next comes [no. A short secco recitative No. Finally there is a return to E major for a tenor aria with full strings, a sturdy bourre-like movement in which the singer is assigned only a fragment just a bar and half of the introductory motif.

Whither goest thou? The text is clearly by the same author, and the overall structure is exactly the same: Bible text - aria - chorale - recitative - aria - chorale. This promise, according to the poet, also holds true if the Christian is threatened by suffering and distress; even in 'Dornen stechen' 'though I prick myself on the thorns: second movement.

As he had done the previous week, Bach entrusts Jesus opening words to the solo bass, but on this occasion he found a completely different, most unconventional solution: the movement is a sort of motet in which only the bass line is actually sung, while the other parts are played by the instruments of the orchestra. Stylistically, Bach alludes to the motets of the l6th and 17th centuries, and thus lends the piece an archaic quality; the writing is polyphonic throughout, and strictly imitative. All the more surprising, therefore, is the alto aria 'Ich will doch wohl Rosen brechen' 'l would also wish to pick the roses' , a magnificent concertante piece with a brilliant solo violin part, the figurations of which bring to mind roses in bloom.

Bach was plainly inspired to write its virtuoso broken chords by the words 'Rosen brechen' 'pick the roses.

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Here, however, the musical setting is richer, in four parts, with two instrumental concertante parts played by oboi d'amore. Bach develops the entire accompaniment from a single theme in a highly disciplined manner. The tenor aria fifth movement is filled with joyful confidence. The work is rounded off by the eleventh strophe of the well-known hymn 'Es ist das Heil uns kommen her' 'The Saviour has come down to us' by Paul Speratus Bach P Since there are no surviving parts, the instrumentation in all but the second and third movements is uncertain.


  • Marcel Dupré: Seventy-Nine Chorales for the Organ, Op. 28: Organ.
  • Bach’s Chorals, vol. 3 The Hymns and Hymn Melodies of the Organ Works - Online Library of Liberty.
  • Marcel Dupré: Seventy-Nine Chorales for the Organ, Op. 28: Organ?
  • Seventy-Nine Chorales for the Organ, Op. 28.

    • The unusual linguistic structure of Jesus' words, "Verily, verily, I say unto you; whatsoever you shall ask the Father in my name, he shall give it to you" was the subject of debate previously. I have the exact related quote to hand from A N Wilson's "Jesus ": "And then again, like the tiniest clue in a detective story there is that verbal mannerism, which the Christ of the Fourth Gospel shares with the Jesus of the Synoptics: "Amen, amen, lego soi," "Verily, verily, I say unto you It is not an idiom; it is an idiolect.