An Wasserflüssen Babylon

Woodcut of Strasbourg from Nuremberg Chronicle, Hartmann Schedel, 1493: Cathedral (r) and St Thomas (l)

Martin Bucer, "Icones quinquaginta vivorum": engraving by Jean-Jacques Boissard

"An Wasserflüssen Babylon" is a Lutheran hymn written in 1525 and attributed to Wolfgang Dachstein, organist at St Thomas' Church, Strasbourg.[1][2][3] The hymn is a closely paraphrased versification of Psalm 137, "By the rivers of Babylon", a lamentation for Jerusalem, exiled in Babylon.[1][4] Its text and melody, Zahn No. 7663, first appeared in Strasbourg in 1525 in Wolf Köpphel's Das dritt theil Straßburger kirchenampt.[1][5] This Strasbourg tract, which comprised the third part of the Lutheran service, is now lost.[5] Despite the lost tract from 1525, the Strasbourg hymn appeared in print in 1526 in Psalmen, Gebett und Kirchenordnung wie sie zu Straßburg gehalten werden and later.[5][6][7]

Wolfgang Egeloph Dachstein was born in 1487 in Offenburg in the Black Forest. In 1503 he became a fellow student with Martin Luther at the University of Erfurt. He entered the Dominican monastic order in around 1520 in Strasbourg, where he started a collaboration with Matthias Greiter, a friend and contemporary. Greiter was born in 1495 in Aichach, near Augsburg in Bavaria, where he attended a Latin school, before enrolling in theology at the University of Freiburg in 1510 and becoming a monk in Strasbourg in 1520.[8][9][10][11][12]

During the Reformation, Protestantism was adopted in Strasbourg in 1524. The reforms involved the introduction of the German vernacular, the use of Lutheran liturgy ("Gottesdienstordnung") and congregational singing. Both Greiter and Dachstein renounced their monastic vows and married in Alsace. Their association continued, with Greiter becoming a cantor in the Cathedral and Dachstein an organist at St Thomas. Both played an important role in the musical life of Strasbourg, with many contributions to Lutheran hymns and psalms. Daniel Specklin, a 16th-century architect from Alsace, where the region Dachstein takes its name, described in detail how the pair engaged in "das evangelium" and "vil gute psalmen". A costly edition of the Straßburger Gesangbuch was published by Köpphel in 1541, with a preface by the Lutheran reformer Martin Bucer: the title, text and psalm were printed in characteristic red and black with woodcuts by Hans Baldung. During the Counter-Reformation, however, the Augsburg Interim resulted in Strasbourg reinstating Catholicism in October 1549: both Dachstein and Greiter renounced Protestantism and Bucer was sent into exile in England, where under Edward VI he became Regius Professor of Divinity.[13][14][15][16][17][18][19][20]

The Lutheran text of Dachstein first appeared in 1525.[1] Miles Coverdale provided an early English translation in the Tudor Protestant Hymnal "Ghostly Psalms and Spiritual Songs," 1539. These Lutheran versifications were written in continental Europe while Coverdale was in exile from England.[21][22][23]

Below is the 1525 hymn tune by Wolfgang Dachstein.

Title page of the 1541 Straßburger Gesangbuch

Dachstein's hymn "An Wasserflüssen Babylon" was rapidly distributed—it was printed in Luther's 1545 Babstsches Gesangbuch[25][26]—and spread to most Lutheran hymnbooks by central Germany.[1]

The hymn tune is Dachstein's best known composition.[3] The melody of the hymn became better known than its text, through the association of that melody with Paul Gerhardt's 17th-century Passion hymn "Ein Lämmlein geht und trägt die Schuld".[5][27] With that hymn text, the hymn tune of "An Wasserflüssen Babylon" was adopted as EG 83 in the Protestant hymnal Evangelisches Gesangbuch.[28]

16th century

Georg Rhau, the Thomaskantor: woodcut by Lucas Cranach the Elder c. 1542

Lupus Hellinck's four-part setting of "An Wasserflüssen Babylon" was published in 1544.[29][30] The treatment is motet-like: the first part of the hymn tune is presented by the soprano voice, however adorned with inserted supplemental melodies, after which the tenor voice presents the rest of the hymn tune, with similar embellishments.[31][32] Another four-part setting of the hymn, likewise first published in Georg Rhau's Newe Deudsche Geistliche Gesenge, is by Benedictus Ducis.[33][34][35][36] A three-part setting by this composer had already been published in 1541.[37] The 115 Guter newer Liedlein collection, published in 1544, contains an extended choral setting by Johannes Wannenmacher: in this version, each stanza of the hymn is set for a different group of singers, from three to six voices.[38][39] Wannenmacher's two-part setting (bicinium) of the hymn was published in 1553.[40][41]

Sigmund Hemmel used the text in the 1550s in his four-part setting, with the cantus firmus in the tenor: Der gantz Psalter Davids, wie derselbig in teutsche Gesang verfasse was printed in 1569.[42]

17th century

Johann Hermann Schein, 1620, Leipzig

Reincken's organ chorale "An Wasserflüssen Babylon" in a tablature copy once owned by Bach

A manuscript written in the early 17th century and a 1660s print illustrate that Dachstein's version of Psalm 137 was adopted in Ashkenazi culture.[43] After the Sack of Magdeburg in 1631, during the Thirty Years' War, it was decreed that Dachstein's 137th Psalm would be sung every year as part of the ceremonies to commemorate the destruction of Magdeburg.[27]

A native of Nuremberg, Hans Leo Hassler was taught by Andrea Gabrieli in Venice, where he excelled as a keyboard player and consorted with his younger uncle, Giovanni Gabrieli. Hassler's 4-part setting of "An Wasserflüssen Babylon" was composed in 1608.[44]

Johann Hermann Schein composed a setting of "An Wasserflüssen Babylon" for two sopranos and instrumental accompaniment, which he published in 1617.[45] His 1627 Cantional contained a four-part setting of the hymn, a setting which was republished by Vopelius's Neu Leipziger Gesangbuch (1682).[45][46][47][48] In 1628 Heinrich Schütz published a four-part harmonisation of "An Wasserflüssen Babylon", SWV 242, in the Psalmen Davids, hiebevorn in teutzsche Reimen gebracht, durch D. Cornelium Beckern, und an jetzo mit ein hundert und drey eigenen Melodeyen … gestellet, the Becker Psalter, Op. 5.[49][50] Samuel Scheidt, composed two settings of the hymn, SSWV 505 and 570, for soprano and organ in the Tabulatur-Buch hundert geistlicher Lieder und Psalmen of 1650.[51]

Franz Tunder composed a setting of the hymn for soprano, strings and continuo. Organist at the Marienkirche in Lübeck from 1646–1668, Tunder initiated his Abendmusik there. Buxtehude later married Tunder's daughter and succeeded him as organist at Lübeck.[52]

The hymn also inspired organ compositions in Northern Germany. Organ chorale preludes and free works by Johann Christoph Bach[53] (Johann Sebastian's first cousin once removed), Johann Adam Reincken[54], Johann Pachelbel[55] and Johann Sebastian Bach[56] have been based on "An Wasserflüssen Babylon".

The 17th-century musical style of the stylus phantasticus covers the freely composed organ and harpsichord/clavichord works, including dance suites. They lie within two traditions: those from northern Germany, primarily for organ using the whole range of manual and pedal techniques, with passages of virtuoso exuberance; and those from central Germany, primarily for string keyboards, which have a more subdued style. Buxtehude and Reincken are important exponents of the northern school and Pachelbel those from the centre.[57][58][59][60][61]

Johann Christoph Bach was born in Arnstadt in 1642 and was appointed organist at St George's, the principal church of Eisenach, from 1665. The 4-part chorale prelude "An Wasserflüssen Babylon" has the same kind of expressive dissonances, with suspensions, as his Lamento "Ach, daß ich Wassers gnug hätte" for voice and strings.[62]

Musical Company, Johannes Voorhout, 1674: Reincken at the harpsichord with Buxtehude at the viol

Born probably in 1643, Reincken was the natural successor to Scheidemann as organist at the St. Catherine's Church, Hamburg, with his musical interests extending beyond the church to the Hamburg Opera and the collegium musicum: as remarked by the 18th-century musician Johann Gottfried Walther, his famous, dazzling and audacious chorale fantasia "An Wasserflüssen Babylon" probably marked that succession; its vast dimension of 327 bars and 10 chorale lines, some broken into two, encompass a wide range of techniques, such as its "motet-like development, figuration of the chorale in the soprano, fore-imitation in diminished note values, introduction of counter-motifs, virtuoso passage work, double pedals, fragmentation, and echo effects."[63][59][64][65][66]

The 2004 version of the Perreault (P.) catalogue of compositions by Johann Pachelbel lists four chorale preludes based on the "An Wasserflüssen Babylon" hymn tune. These organ pieces, some of which alternatively appear under the title "Ein Lämmlein geht und trägt die Schuld", typically consist of two sections, which are an introductory fughetta, followed by a setting of the chorale:[67]

1. P. 17.[68][69]
2. P. 18: transmitted in two variants, both for the fughetta and the chorale. In some manuscripts the chorale appears without the introductory section.[67][69]
3. P. 19: lost.[70]
4. P. 20: doubtful.[69][70]

Another organ piece by Pachelbel based on the hymn was discovered in 2006.[71][72][73] Its first recording, a performance by Jean-Claude Zehnder, was issued in 2007.[74]

18th century

Autograph manuscript of Bach's BWV 653

Johann Sebastian Bach set the chorale prelude "An Wasserflüssen Babylon" as the third chorale of the Great Eighteen Chorale Preludes, with two early settings from his period in Weimar (BWV 653a and BWV 653b) and a third reworking in Leipzig from 1740–1750, taken from the autograph manuscript of BWV 653.[75] The same melancholic sarabande-like music in the chorale prelude can be heard in Bach's closing movements of the monumental Passions: the increasing chromaticism and passing dissonances create a mood of pathos.[76] Bach's project for the Orgelbüchlein, dating from his period in Weimar, includes two blank manuscript pages for "An Wasserflüssen Babylon" (pages 116–117, Christian Life and Conduct) that were never set.[77]

Reincken's extended chorale fantasia elaborates the hymn tune with a broad variety of techniques.[78] The young Bach was aware of Reincken's reputation and owned a copy of the chorale fantasia when he studied with Georg Böhm in 1700. Bach's copy, in organ tablature, was rediscovered in 2005 at the Herzogin Anna Amalia Bibliothek in Weimar by Michael Maul and Peter Wollny, who believe the tablature to be in Bach's hand, which is however doubted by Kirsten Beißwenger. If so, it would be one of Bach's oldest extant manuscripts.[71][79][80][81][82][83][84][85]

Reincken repaid the debt to Bach. In Stinson (2001) there is a description of a concert in 1720, when Bach extemporised for "almost half an hour" on An Wasserflüssen Babylon at the organ loft of St. Catherine's Church, Hamburg, with a well-known comment of Reincken, in attendance and written 2 years before his death: "I thought that this art was dead, but I see that in you it still lives."[86][87]

The coda of Bach's last version of the third chorale of the "Great Eighteen Chorale Preludes", dating from his last decade in Leipzig, shares some compositional features of Reincken's chorale prelude: the ornamental descending flourish at the end of Reincken's coda

can be compared with Bach's closing coda of BWV 653 with scales in contrary motion in the lower manual and pedal.

As Stinson writes, "It is hard not to believe that this correspondence represents an act of homage." [88] Despite being composed in Leipzig within the traditions of Thuringia, however, Bach's contemplative "mesmerising" mood is far removed from his earlier improvisatory compositions in Hamburg and Reincken's chorale fantasia: the later chorale prelude is understated, with its cantus firmus subtly embellished.[89][90]

4-part chorale of "An Wasserflüssen Babylon" by J.S. Bach, edition of C.P.E. Bach & F.W. Birnstiel, 1765

Bach also composed a chorale harmonisation, BWV 267, which appeared around 1735 in the Dietel manuscript.[91][92][93] That harmonisation is found as well in G major and in A-flat major in 18th-century chorale collections, both as "An Wasserflüssen Babylon" and as "Ein Lämmlein geht und trägt die Schuld".[92] For instance, its publication in the Breitkopf edition of the 1780s has it as No. 5 in G major under the former title and as No. 308 in A-flat major under the latter title.[92][94][95] In Schemelli's 1736 hymnal, to which Bach collaborated, the key of the "An Wasserflüssen Babylon" hymn, No. 587, is given as "D", and that of seven other hymns sung to the same melody, including "Ein Lämmlein geht und trägt die Schuld", No. 259, as "G".[96][97][98][99]

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Wikimedia Commons has media related to An Wasserflüssen Babylon.

• An Wasserflüssen Babylon, Opella nova (Geistliche Konzerte, Leipzig, 1618) by Johann Hermann Schein: Scores at the International Music Score Library Project (IMSLP)
• An Wasserflüssen Babylon, Becker Psalter, Op.5 (Psalmen Davids, Freiberg, 1628) by Heinrich Schütz: Scores at the International Music Score Library Project (IMSLP)
• An Wasserflüssen Babylon, P.17, An Wasserflüssen Babylon, P.18, An Wasserflüssen Babylon, P.20 by Johann Pachelbel: Scores at the International Music Score Library Project (IMSLP)
• An Wasserflüssen Babylon (Complete Organ Works, ed. Klaus Beckmann, Breitkopf & Härtel, 1974) by Johann Adam Reincken: Scores at the International Music Score Library Project (IMSLP)
• An Wasserflüssen Babylon, BWV 267, BWV 653, by Johann Sebastian Bach: Scores at the International Music Score Library Project (IMSLP)
• Zu Fassungen der Melodie in Elsässischen Gesangbüchern colmarisches.free.fr
• Glebe, Karl ; Heinermann, Otto: / Vorspiele zum deutsch-evangelischen Gesangbuch für Orgel dzb.de
• G. W. Fink: No. 24 Allgemeine musikalische Zeitung, Volume 38, 1836
• "An Wasserflüssen Babylons". The Scroll Ensemble. Retrieved 3 March 2018.
• Dahn, Luke. "The Four-Part Chorales of J.S. Bach". Retrieved 9 April 2018.