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42. Aria Gebt mir meinen Jesum wieder! (bass) 43. Mt 27:7–14, with Vox Christi and Pilate (bass) 44. ... Text and translation to English, Emmanuel music;
Meinen Jesum laß ich nicht: 6: Jesum laß' ich nicht von mir: 29 [b] four-part chorale Sebald Heyden: 1525: O Mensch, bewein dein Sünde groß: 1: O Mensch, bewein dein Sünde groß: 29 [c] cantus firmus in choral movement Adam Reusner: 1533: In dich hab ich gehoffet, Herr: 5: Mir hat die Welt trüglich gericht' 32: four-part chorale Paul ...
The cantata ends with a four-part setting of the chorale, "Meinen Jesum laß ich nicht, geh ihm ewig an der Seiten" (I will not let go of my Jesus, I will walk beside Him forever), [7] with a conjunct melody and active continuo line. [8] The last line is the same as the first, connecting to the beginning of the cantata. [7] [4]
The duet aria, "Nimm mich mir und gib mich dir!" (Take me from myself and give me to You!), [1] again for soprano and alto, is in triple time. The tune of Johann Heermann's hymn "Meinen Jesum lass ich nicht" (I will not let go of my Jesus) [1] is interwoven in the texture as a cantus firmus of the upper strings in unison. [2]
Meinen Jesum laß ich nicht (I will not let go of my Jesus), [1] BWV 124, is a church cantata written by Johann Sebastian Bach. He composed it in Leipzig for the first Sunday after the Epiphany and first performed it on 7 January 1725.
In a middle section, the angels are asked to open heavenly meadows, to see Jesus soon ("Kommt, ihr Engel, … Öffnet mir die Himmelsauen, meinen Jesum bald zu schauen"). [25] The German text of the aria and its English translation by Lucy Broadwood are as follows: [20]
Bach hints at the regular closing chorale by beginning the vocal part with an embellished version of the first line of the hymn "Meinen Jesum laß ich nicht" on a melody by Andreas Hammerschmidt [7] on the same words as the cantata text. The first line appears in four of five entries of the voice. [4]
Bach's chorale harmonisations are all for a four-part choir (SATB), but Riemenschneider's and Terry's collections contain one 5-part SSATB choral harmonisation (Welt, ade! ich bin dein müde, Riemenscheider No. 150, Terry No. 365), not actually by Bach, but used by Bach as the concluding chorale to cantata Wer weiß, wie nahe mir mein Ende, BWV 27.