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  • The Flowering of the Spirit
    • 2021-2022 Concerts >
      • Clothed Head to Foot in Song
      • World of Wonder
      • Early Music Christmas: Lo How a Rose
      • Sacred Realms: Très Riches Heures
      • Never to Forget
      • Season Finale: Born of the Sun
      • Organ Recital: The Incomparable Herr Buxtehude
    • 2021-22 Educational Events
    • 2021-22 Virtual Offerings >
      • Virtual BachTalks
      • The Choir Loft >
        • June 5th - How Brightly Shines the Morning Star
        • June 12th - Sacred Works by Valentin Silvestrov - Steve Osborn
        • June 26th - Some Music by Palestrina - Comfort in Perfection - Dan Solter
        • July 3rd - William Byrd: Motets and Masses Part One
      • Repertoire Exploration Projects
    • Tickets
    • Donate today!
    • COVID-19 Audience Safety
  • 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
    • 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!
Welt ade! Ich bin dein müde by Johann Rosenmüller
Johann Rosenmüller (1615-1684), an assistant cantor at Leipzig, set to music a text by his friend and colleague Johann Georg Albinus. The piece has the unusual title and first line of 'Welt ade! Ich bin dein müde'
('World, adieu! I am so weary of you').

Rosenmüller's five-part setting is both unusual and moving. Listen to a nice brass rendition (with scrolling score) at this link. It uses the 5-part texture to best effect, creating little antiphonal passages. And it somehow manages to create a valedictory sort of feel very appropriate to the text. 

What is odd is that J.S. Bach used not only the chorale melody and first-verse text in the closing movement for his Cantata 27: Wer weiß, wie nahe mir mein Ende?: He essentially cribbed the entire setting from Rosenmüller--
check it out here.

Bach used the melody and first-verse text once again (that we know of) in his career, in a wonderful solo movement in Cantata 158: Der Friede sei mit dir. The entire score of this most unusual piece is attached. You'll note that it has a very restricted instrumentation: Except for the closing chorale, it include only soprano and bass solos; violin and oboe; and continuo. 

The second movement is the one that contains the melody of 'Welt, ade!', sung by the soprano. The bass has an extended ornamented solo line, beginning with the text of 'Welt ade!', but diverging into a paraphrase. The violin accompanies and alternates with the bass and soprano on a magnificent obligato line. It's quite something, definitely worth a listen.
Click here to download learning materials
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