The well known Choral from BWV 147, arranged without omitting voices.
Johann Sebastian Bach's BWV 147, formally titled Herz und Mund und Tat und Leben (Heart and Mouth and Deed and Life), is one of his most celebrated sacred cantatas, and within it lies the famous chorale commonly known as "Jesu, Joy of Man's Desiring". This piece has transcended its original liturgical context to become a staple of classical music repertoire, cherished for its serene beauty and intricate craftsmanship. Below, I’ll provide a detailed exploration of its background, historical context, and musical significance.
BWV 147 is a church cantata composed by Bach for the Feast of the Visitation of Mary, celebrated on July 2 in the Lutheran liturgical calendar. The work was first performed on July 2, 1723, in Leipzig, where Bach had recently taken up the position of Thomaskantor (cantor of St. Thomas Church). However, the cantata has an earlier origin: Bach initially composed it in 1716 in Weimar for the Fourth Sunday of Advent, under a different structure and with the catalog number BWV 147a. The Advent version is incomplete today, as only fragments survive, but it served as the foundation for the later Leipzig revision.
The cantata is divided into two parts, intended to be performed before and after the sermon in the church service. It consists of ten movements.
The chorale appears twice (movements 6 and 10), framing the second half of the cantata with its serene and uplifting character.
The movement most associated with BWV 147 is the chorale from movements 6 and 10, known in English as "Jesu, Joy of Man’s Desiring", a title derived from a 1926 arrangement by British organist Dame Myra Hess. The original German text is:
Movement 6: "Wohl mir, dass ich Jesum habe" ("Blessed am I that I have Jesus"). Movement 10: "Jesus bleibet meine Freude" ("Jesus remains my joy").
The melody, composed by Johann Schop, was a well-known hymn tune by Bach’s time, but Bach transformed it with his signature counterpoint. The chorale is underpinned by a flowing triplet accompaniment in the strings and continuo, creating a sense of perpetual motion that evokes both peace and exultation. The voices sing the hymn in long, sustained notes, while the instrumental lines dance around them, showcasing Bach’s genius for blending simplicity and complexity.
The English title "Jesu, Joy of Man’s Desiring" comes from a poetic translation by Robert Bridges, an English poet laureate, though it’s not a literal rendering of Jahn’s text. Bridges’ version emphasizes a universal human longing for divine connection, which has helped the piece resonate beyond its Lutheran origins.
Bach likely never imagined its modern popularity; cantatas were considered ephemeral in his day, composed for specific Sundays and rarely revisited.
This is a recording for two guitars, you can visibly see me play the first part. I'll also arrange a solo guitar version shortly.
