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Melody & Text | Use of the CM by Bach | Use of the CM by other composers | English Hymnals using the German CM

This famous melody was most likely composed by Heinrich Isaac from whose pen we have two 4-pt settings, the earliest with the melody in the tenor, the latest with the melody in the soprano part (it has not been definitely established, however, which version came first.) In any case, the earliest appearance of this melody as used by Isaac dates roughly from about 1490. The text used by Isaac is secular in nature and reflects the poet’s/singers’ sadness and reluctance in departing from the city where he will leave behind him his beloved as he sets forth to go elsewhere in the world. Without being able to provide clear evidence for their suppositions, musicologists have surmised that Isaac may have derived/taken the melody from a 15

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Century folksong or frottola, but the majority of musicologists believe that it might be Isaac’s own melody. Certainly the excellence of his settings aided in the quick dissemination of this melody so that was already being used for sacred songs as early as 1505. In 1550 it was used as the basis of the CM for the CT Du Friedefürst, Herr Jesu Christ (see: CM Du Friedefürst, Herr Jesu Christ)

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The 4-pt. score of Issac’s Innsbruck, ich muß dich lassen can be found at: Cantata BWV 97 - In allen meinen Taten - Name that tune! - Example T1

Henricus [Heinrich; Arrigo d’Ugo; Arrigo Tedesco] Isaac [Ysaak, Ysac, Yzac], (b Flanders or Brabant, c1450-55; d Florence, 26 March 1517) was a South Netherlandish composer. The Latin name-form ‘Henricus’, adopted here, is found in many documents and musical sources. Isaac was a prominent member of a group of Franco-Flemish musicians, including Josquin des Prez, Jacob Obrecht, Pierre de La Rue, Alexander Agricola and others, who achieved international fame in the decades around 1500, influencing the Italian and European Renaissance. His musical output is particularly large and varied. Through his notable link with the Habsburg dynasty he left his mark on German musical traditions, although he also lived and worked for a considerable time in Florence.

) have cherished him as the composer of Innsbruck, ich muss dich lassen (which, contrafacted as O Welt, ich muss dich lassen, had been naturalized as a Lutheran chorale and set by J.S. Bach); at the same time, they searched feverishly for the presumed German folksong behind the famous setting.

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The two settings: Innsbruck, ich muss dich lassen [= Herr got las dich], 4vv (i), W i; Innsbruck, ich muss dich lassen, 4vv (ii)

Probably Isaac’s best-known German songs, the two settings of Innsbruck, ich muss dich lassen (i and ii), have problematic aspects. The poetic form AABCCB, which so memorably determines the shape of the melody, is neither a popular scheme nor a Kanzonenstrophe. Staehelin (1989) suggests that a pre-existent Hofweise - perhaps beginning ‘Zurück muss ich dich lassen’ - was used, but no copy of the melody from before Isaac’s time is known. Isaac’s setting (i), with the melody in the discantus and an expressive but rhythmically simple harmonization, resembles his Italian songs and many mass sections; its earliest sources date from the 1530s. In setting (ii), first found in the 1520s, tenor and altus sing the melody in canon, as is more usual in German songs. The bassus of a four-voice setting, of uncertain authorship, survives as well from about 1510. Who composed the melody itself? Stylistic analogies connect it with the Italian lauda or frottola idioms, with some Hofweisen, and with certain French songs such as Helas que devera or Comment poit avoir joye. The opening rhythm is a familiar cliché in Franco-Italian songs from Florence, some of them by Isaac himself. For these reasons, Isaac seems to be the composer of the melody and at least of its Italianate setting (i), whereas the canonic setting (ii) and the anonymous bassus fragment might be Germanized, more contrapuntal adaptations.

BWV 13/6: Breitkopf Anhang 4 Nun ruhen alle Wälder; Breitkopf 103 (in Bb) Nun ruhen alle Wälder BWV 44/7: Dietel 108 Nun ruhen alle Wälder; Breitkopf 354 Nun ruhen alle Wälder Footnote to BWV 97/2, 4, 6 above:

Lyrik: Das Nötige »jetzt!«, Tageszeitung Junge Welt, 23.11.2020

>>The text is the complete hymn in nine strophes by Fleming ( 1642), but the celebrated melody to which these austere verses are sung, O Welt, ich muß dich lassen (derived from the secular Innsbruck, ich muß dich lassen by

(c1450-1517), appears only in the first and last movements. The central movements--four arias, a duet, and two recitatives--make no reference to the melody.<<

BWV 244/10: Breitkopf 117 Nun ruhen alle Wälder BWV 244/37: Breitkopf 50 In allen meinen Taten BWV 245/11: Dietel 138 O Welt, sieh hier dein Leben; Breitkopf 62 Nun ruhen alle Wälder BWV 393: Title O Welt, sieh hier dein Leben BWV 394: Title O Welt, sieh hier dein Leben BWV 395: Title O Welt, sieh hier dein Leben

Deutsches

Grußkarte Mit

Innsbruck, ich muss dich lassen, Weltliches Lied for S, A, T 1, 2, B, No. 24 in Neue Teutsche Geistliche und Weltliche Liedlein [...] (München, 1570)

Choralfantasie a 5 Innsbruck, ich muß dich lassen for 2 violins, 2 violas & violoncello, in Newer lateinischer und deutscher Gesenge (1597)

The 11 Chorale Preludes for organ, composed in May and June 1896, were published posthumously in 1902 as op.122. Intimations of the composer's mortality are clear from his choice of chorales, including two settings of O Welt, ich muss dich lassen. The models for this set are the preludes of Bach's Orgelbüchlein, described by Reger as ‘symphonic poems in miniature’, in which the chorale melody remains mostly in the top part. Reger's description could apply equally well to Brahms. The expressive seems inseparable from the structural in moments like the achingly sustained half-diminished 7

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Chord that precedes the final cadence in the first O Welt prelude, or in the complex motivic development that supports the guileless melody of O Gott, du frommer Gott. These last works capture the unique synthesis of historical and modern that lies at the core of Brahms's musical personality.

[Die Musik in Geschichte und Gegenwart: Reda, Siegfried, P. 3. Digitale Bibliothek Band 60: Die Musik in Geschichte und Gegenwart, P. 61841 (cf. MGG Bd. 11, P. 93) (c) Bärenreiter-Verlag 1986]

Oswald

His technical development in the orchestral genre is represented in a twin set of works characterized by the brilliance of the orchestral writing: Greetings from an Old World, written for the 1976 USA bicentenary, in which

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Toccata (Bach chorale no. 90, Hilf, Gott, lass mir's gelingen. S. 343) -- Andante sostenuto (Bach chorales nos. 7& 78, Herr, ich habe misgehandelt. S. 330 & 331) -- Contrapunctus: B-A-C-H -- Allegretto tranquillo (Bach chorale no. 139, Nun ruhen alle Wälder. S. 392) -- Introduzione - Vivace - Allegro (Bach chorale no. 133, Nun danket alle Gott. S. 386).

Composed for Dr. Alber Schweitzer at the request of the Friends of Albert Schweitzer foundation, Boston, Mass. and commissioned by the Koussevitzky music foundation established in memory of Natalie Koussevitzky. Commissioned by the Koussevitzky Music Foundation. Duration: 31 min.

Sources: NBA, vols. III/2.1 & 2.2 in particular [Bärenreiter, 1954 to present] and the BWV (Bach Werke Verzeichnis) [Breitkopf & Härtel, 1998]

Chorale Melody: O Welt, Ich Muss Dich Lassen / Nun Ruhen Alle Walder

Individual Recordings: Hilliard - Morimur | Chorales - N. Matt | Chorales - H. Rilling | Preludi ai Corali - Quartetto Italiani di Viola Da Gamba

Hallo Klaus (i Wü Nur Zruck Zu Dir)

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]Nun lass das Sorgen Ein Tagelied von Oswald von Wolkenstein, entstanden vor 1408, ein typisches Zwiegespräch von Mann und Frau. als zwei- und als dreistimmiger Kanon darzubieten (KL 121). – Das Original aus Handschrift A – Originaltext – Meine Übertragung

I »Nun lass das Sorgen, mein verborgen lieber Schatz! Schließ deine Augen vor dem Licht, ängstlich vor des Tags Beginn! Trotze ihm! Herzliebster, er kommt noch nicht! Das Trauern und Warten lass, erwarte Freude, halte Maß! Tust du das, so bist du sicher mein.«

II Frau, lass mich strafen, denn verschlafen hab’ ich die Stund’! Schon ist der Morgenstern verschwunden. Ei, du rosenfarb’ner Mund, mach mich gesund, heile alle meine Wunden! Neig dein Haupt bis auf mein Herz, umarme mich ohn’ Leid und Schmerz, treib den Scherz, der uns, Frau, macht froh!«