Sonoma Bach
  • Bach's World
    • 2022-2023 Concerts >
      • Travels with Sebastian
      • The Old Bach Archive
      • Christmas with Bach
      • The Little Organ Book
      • Bachapella
      • Arnstadt & Mülhausen
      • Bach Through the Years
    • 2022-23 Educational Events >
      • BachTalks
      • Saturday Sings!
    • 2022-23 Virtual Offerings >
      • The Choir Loft >
        • Feb. 5 - Winter's Chill - Dianna Morgan
        • Feb. 12 - The Heirs of Bach: Charles Ives - Steve Osborn
        • March 12 - The Heirs of Bach: Hugo Distler - Steve Osborn
      • Repertoire Exploration Projects
    • Tickets
    • Donate today!
  • Who we are and What we do
    • Mission Statement
  • Our Ensembles
    • Sonoma Bach Choir
    • Circa 1600
    • Green Mountain Consort
    • Live Oak Baroque Orchestra
  • Support
    • Donate
    • Sponsor a Singer!
    • Escrip & Amazon Smile
  • Resources
    • Virtual Offerings - Archive >
      • The Choir Loft
      • Virtual BachTalk
      • Adventures in Sightsinging
      • Parliamo Italiano! Language Workshop
      • Madrigal Mondays
      • Chorale Wednesdays
      • Motet Fridays
      • Virtual Recording Projects
      • Virtual Concerts >
        • Live Oak Baroque Orchestra
        • Music for these Distracted Times - Barefoot All-Stars
        • Agave Baroque American Originals
        • Bach's Long Walk to Lübeck - Anne Laver, organ
    • Concert Programs
    • Scores & Parts
    • Rehearsal Recordings
  • Contact
  • Join our Mailing List!
  • Bach's World
    • 2022-2023 Concerts >
      • Travels with Sebastian
      • The Old Bach Archive
      • Christmas with Bach
      • The Little Organ Book
      • Bachapella
      • Arnstadt & Mülhausen
      • Bach Through the Years
    • 2022-23 Educational Events >
      • BachTalks
      • Saturday Sings!
    • 2022-23 Virtual Offerings >
      • The Choir Loft >
        • Feb. 5 - Winter's Chill - Dianna Morgan
        • Feb. 12 - The Heirs of Bach: Charles Ives - Steve Osborn
        • March 12 - The Heirs of Bach: Hugo Distler - Steve Osborn
      • Repertoire Exploration Projects
    • Tickets
    • Donate today!
  • Who we are and What we do
    • Mission Statement
  • Our Ensembles
    • Sonoma Bach Choir
    • Circa 1600
    • Green Mountain Consort
    • Live Oak Baroque Orchestra
  • Support
    • Donate
    • Sponsor a Singer!
    • Escrip & Amazon Smile
  • Resources
    • Virtual Offerings - Archive >
      • The Choir Loft
      • Virtual BachTalk
      • Adventures in Sightsinging
      • Parliamo Italiano! Language Workshop
      • Madrigal Mondays
      • Chorale Wednesdays
      • Motet Fridays
      • Virtual Recording Projects
      • Virtual Concerts >
        • Live Oak Baroque Orchestra
        • Music for these Distracted Times - Barefoot All-Stars
        • Agave Baroque American Originals
        • Bach's Long Walk to Lübeck - Anne Laver, organ
    • Concert Programs
    • Scores & Parts
    • Rehearsal Recordings
  • Contact
  • Join our Mailing List!
Nun freut euch lieben Christen g'mein
I keep discovering my new favorite Luther chorale (this is true in so many arenas, and is a good thing), and I've done it again: 'Nun freut euch lieben Christen g'mein'. It's one of Luther's earliest chorales, published in 1524 in the so-called 'Achtliederbuch'. Its a song celebrating redemption and giving thanks and praise. Luther's original melody--the one we're dealing with here--is lively and song-like: In AAB form, it's simple and attractive, beginning with the unusual opening 4ths and continuing in the B section to expand its range and finally settle back to the opening note.

As early as 1545 (the Babst Songbook), a new tune is associated with the 'Nun freut' text, along with the old one. This is the tune Bach used more frequently, including as the basis for his touching chorale in the 6th cantata of the Christmas Oratorio, with the words: 'Ich steh an deiner Krippen hier'. This new tune gradually took over the lyrics of 'Nun freut', though the original melody persisted and was set by many composers.

I have assembled a veritable cornucopia of materials for this chorale, all available to you in this Dropbox file. The tune as it appeared in 1524 is there in a facsimile, as well as the Luther Gesellschaft version of the tune in modern notation. In addition, scores and recordings for three settings are in the file:

   Benedictus Ducis, a contemporary of Luther, wrote a lively setting for four voices which has the tenor lining out each line of the tune, with the full ensemble replying with a lively harmonization. It reminds me somehow of shape-note singing.

   Michael Praetorius set the tune numerous times, using both melodies. In the first volume of 'Musae Sioniae', he features our tune in a festive eight-part setting for double choir. The recording uses voices for Choir I and instruments for Choir II, a common practice authorized by Praetorius.

   As noted above, J.S. Bach usually used the second tune; but he did leave us a harmonization for the first tune, BWV 388, one of the many chorales which are not associated with a known cantata or oratorio.

Learn the tune and sing it out! Walk down the street singing or whistling it. Teach it to others and sing it together before a meal or over good drink. If a good strong melody can't change the world, I don't know what can. And then
(with good courage) look at or listen to or sing with the various versions I've included.

Go ahead, rejoice! What do you have to lose? And what does the world gain when you're curled up in a ball like a hedgehog?
Click here to download learning materials
Sonoma Bach  | 911 Lakeville Street #193 |  Petaluma |  CA  |  94952 
​707-347-9491 | info@sonomabach.org

Sonoma Bach is a 501(c)(3) nonprofit arts organization