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Fair copy in Bach's own hand of the revised version of the St Matthew Passion BWV 244 that is generally dated to the year 1743–46. The St Matthew Passion is the second of two Passion settings by Bach that have survived in their entirety, the first being the St John Passion, first performed in 1724.
Gebt mir meinen Jesum wieder! Picander: 43 52: Ev, Jesus, Pilate: E minor → D major 2Vn Va Bc Sie hielten aber einen Rat: Mt 27:7–14: 44 53: Chorale: D major: 2Ft 2Ob 2Vn Va Bc: Befiehl du deine Wege: Paul Gerhardt: 45a 54: Ev, Pilate, his wife: Ch I: Ch II: E major → A minor Bc Auf das Fest aber hatte der Landpfleger Gewohnheit: Mt 27:15 ...
Recitative (tenor): Wo treff ich meinen Jesum an; Chorale: Jesu, mein Hort und Erretter; Aria (alto, oboi d'amore, strings, no continuo): Jesu, laß dich finden; Arioso (bass): Wisset ihr nicht, daß ich sein muß; Recitative (tenor): Dies ist die Stimme meines Freundes; Aria (alto, tenor, oboi d'amore, strings): Wohl mir, Jesus ist gefunden
Meinen Jesum laß ich nicht (I will not let go of my Jesus), [1] BWV 124, [a] is a church cantata written by Johann Sebastian Bach. He composed the chorale cantata in Leipzig for the first Sunday after the Epiphany and first performed it on 7 January 1725. It is based on the hymn " Meinen Jesum laß ich nicht" by Christian Keymann.
Deutsch: Bach, Matthäuspassion BWV 244, Incipit Nr. 51 Gebt mir meinen Jesum wieder! Date: 10 November 2011: Source: Own work: Author: Wikiwal: Permission (Reusing ...
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]
My heart! At the end when they were sleeping with her, I totally melted! This brought back so many memories for me of bringing home our babies and our Westies meeting them for the first time.
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.