Hyperion Records

Jesu, meine Freude, BWV227
composer
18 July 1723: funeral of Johanna Maria Kees
author of text
first published with Johann Crüger in 1653
author of text
Romans 8: 1, 9-11

Recordings
'Bach: The Six Motets' (CDH55417)
Bach: The Six Motets
MP3 £4.99FLAC £4.99ALAC £4.99Buy by post £5.50 CDH55417  Helios (Hyperion's budget label)  
Details
Part 01: Jesu, meine Freude
Track 9 on CDH55417 [1'15] Helios (Hyperion's budget label)
Part 02: Es ist nun nichts Verdammliches an denen
Track 10 on CDH55417 [2'45] Helios (Hyperion's budget label)
Part 03: Unter deinem Schirmen
Track 11 on CDH55417 [1'32] Helios (Hyperion's budget label)
Part 04: Denn das Gesetz des Geistes
Part 05: Trotz dem alten Drachen
Track 13 on CDH55417 [2'09] Helios (Hyperion's budget label)
Part 06: Ihr aber seid nicht fleischlich, sondern geistlich
Track 14 on CDH55417 [3'26] Helios (Hyperion's budget label)
Part 07: Weg mit allen Schätzen!
Track 15 on CDH55417 [1'15] Helios (Hyperion's budget label)
Part 08: So aber Christus in euch ist
Part 09: Gute Nacht, o Wesen
Track 17 on CDH55417 [3'33] Helios (Hyperion's budget label)
Part 10: So nun der Geist des, der Jesum von dem Toten
Track 18 on CDH55417 [1'22] Helios (Hyperion's budget label)
Part 11: Weicht, ihr Trauergeister
Track 19 on CDH55417 [1'27] Helios (Hyperion's budget label)

Jesu, meine Freude, BWV227
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The earliest of the six Bach motets is probably the five-part setting of Jesu, meine Freude, written, it has been suggested, for the funeral service of the wife of the Leipzig postmaster, Johanna Maria Kees, on 18 July 1723. It is also by far the longest and the most complex in its layout. It uses the popular chorale by the poet Johann Franck and the composer Johann Crüger, first published in 1653, but with free passages, added between the six verses, setting words from Romans 8, verses 1, 2, 9, 10 and 11. The result is an ingenious symmetrical structure, typical of the mature Bach. The eleven movements are of three types: settings of the choral tune and text (Nos 1, 3, 7, 11), free settings of the chorale text (Nos 5 and 9), and settings of the added text (Nos 2, 4, 6, 8 and 10). They are grouped around the fugue No 6; Nos 1 and 11 use the same music; Nos 2 and 10 have material in common; and Nos 3–5, a chorale, a trio and a free aria-like movement, have their counterparts in Nos 7–9.

from notes by Peter Holman © 1990

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