You’ve probably heard this lovely lilting Baroque piece performed as an instrumental at weddings. But the composer who popularized it—the inimitable J. S. Bach—originally programmed it as the finale to a ten-movement liturgical work celebrating the miraculous pregnancies of Mary and Elizabeth from the Gospel of Luke, and God’s subversion of the world order through the birth of Christ. “The wondrous hand of the exalted Almighty / is active in the mysteries of the earth!” the work proclaims.
Under Bach’s design, those pastoral triplets (DUM-da-da DA-da-da DA-da-da DA-da-da . . .) gird up a choir-song of praise to Jesus Christ, Emmanuel, our joy and our strength. Even when the light, bright major chords give way to the minor in line five, signifying the turning of life’s circumstances, the Christian’s confession remains the same: Jesus is mine; what shall I fear?
Though Bach is often cited as the melody’s originator, that credit in fact goes to Johann Schop; it was first published in 1642 with Johann Rist’s hymn text “Wach auf, mein Geist, erhebe dich” (“Wake, My Spirit, Rise”). In 1661 Martin Janus wrote a new text for the tune—of no less than nineteen stanzas!—titled “Jesu, meiner Seelen Wonne” (“Jesus, My Soul’s Bliss”). Bach took stanzas six and seventeen of this hymn, harmonized and orchestrated them, and placed them as the closings to part one and part two, respectively, of his cantata Herz und Mund und Tat und Leben (Heart and Mouth and Deed and Life) (BWV 147).
These two chorale movements, titled “Wohl mir, daß ich Jesum habe” (“Blest am I, that I have Jesus”) and “Jesus bleibet meine Freude” (“Jesus shall remain my joy”), have identical musical settings, and their English translation is as follows:
Blest am I, that I have Jesus!
O how tightly I cling to Him,
so that He delights my heart
when I am sick and sad.
I have Jesus, who loves me
and gives Himself to me as my own;
ah, therefore I will not let go of Jesus,
even if my heart is breaking.
Jesus shall remain my joy,
my heart’s comfort and sap;
Jesus shall fend off all sorrow.
He is the strength of my life,
the delight and sun of my eyes,
the treasure and wonder of my soul;
therefore I will not let Jesus go
out of my heart and sight. [Source]
Bach wrote Herz und Mund in 1723 during his first year as the director of church music in Leipzig, basing it on an earlier cantata he had written in Weimar in 1716 for the fourth Sunday of Advent. Because Leipzig observed tempus clausum (a “closed time” of penitence) during Advent, allowing cantata music only on the first Sunday, Bach could not perform the cantata for the same occasion in Leipzig, so he adapted it for the feast of the Visitation on July 2.
Scored by Bach for four solo vocalists, a four-part choir, and an instrumental ensemble of trumpet, two oboes, violin, viola, and continuo, the chorale music was first given the title “Jesu, Joy of Man’s Desiring” in 1926 when Dame Myra Hess published a transcription for solo piano—which you can hear Benjamin Moser play in the video below.
(“Jesu” is a poetic derivation of the Latin name for Jesus. I most commonly hear it pronounced YAY-su, but see here.) Continue reading “The evolution of “Jesu, Joy of Man’s Desiring””