Вы находитесь на странице: 1из 6

Jesus, Joy of Man's Desiring

(Jesus bleibet meine Freude)

Chorale from Cantata Herz und Mund und Tat und Leben, BWV 147
(Heart and Mouth and Deed and Life)

Arranged and edited by Seymour Bernstein

for Birgit Matzerath


*4

Serene, flowing

3
1

4
2

3
1

3
2
1

1
(2 )

5 (4 ) (3 )
1 3 2
1
( 2)

4
1

J.S. Bach

2
1

4
1

3
1

5 (5 ) (4 ) ( 3)
2
4 3 2 (2 )
3
( 1) 1
1

(4 )

1

# 3 9

& 4 ( 8 ) .
J
J
J

J
J
J
J

? # 43

5 -1
5
1

Piano

u.c.

( 3)
2
1

( 4)

( 52 )
5
1

4
3

5
2

3
2

4
2
1

4
2

4
1

3
2

4
2

3
2
1

& .

J
J
J
J
J
J
J

?#

1-2

1
2-1
5

4
2

5
2
1

5
2

gg
gg

3
1

5
2

&
J
J n J J
J J

?#

#
&

3 -5
1

2
1

3
1

#
#

11

? #

4
2
1

3
1

(1 )

1
3

3
2

u.c.

4
2

.
.
.
P
j

* The fingerings in parentheses are suggestions by pianist Elizabeth Wolff.

Project the tenorvoice

F
f

ggg
g

sempre legato

t.c.

2
5

4
2

5
2



.

J
j
j

J
J

5
1

* please see note below

5
4
5
4
4
3- 55
2
p
1
2
2
2
1
1
1


& .. J J

J
J
J
J
J
J
f
F

g
? #

gg

2
1
1
1
2
t.c.
5

14

5
1

17

&
.
p?#

J
J

J
J
J
J
J

u.c.

3
1


& .

J
J
J
J
J
J
J
#

20

?#

&
? #

4
2

5
2
1

35
1

2
1

simile

4
2

ggg
g

*
On the one hand, the rhythmic variant suggested at measure 16, and applied
to similar measures, was consistent with baroque practice. On the other hand,
the fact that Bach, in his original score, notated 9/8 time only for the first violin,
and 3/4 time for all other vocal and instrumental parts, perhaps suggests that in
this case, at least, he wished strict adherence to his rhythmic notation. This is,
however, more easily accomplished in performance of the original score than it
is on the piano, especially when the tempo is more andante than allegro. In the
final analysis, keyboard players should make their own decision regarding the
distribution of this rhythm.

F23
#
&
n
J
J
J

?#

Project the soprano voice

t.c.

P
27
# -
& ..

? #

5
3
1

F
.

J
J
J
j
j

j
J
J


t.c.

u.c.
5

3
2

4
2

4
2

f
- - -30
#

&
J
J
J
J
J


?#


J
.
J

u.c.

& J
. .
J

J
J
J
J

33

?#

1

#




&

n

J
J
J
J
J
J
J
J
J
3

36

gg
gg

?#

4
2
1

3
1

5
2

&
. . #

J
j
j


?#

t.c.

39

& n n . # #
J
J
- -
? # .

42

p1

.. . #
poco f

4
2
1

3
1

4
2

3
1

3
1

3-5
2

2
1

4
2

2
1

. . n

4
2
1

4
2

3
2
1

4
1

5
1

2- 4
1

2
1

n #

. # n J J
n
.
J
J
J
P

gg n
n

4
2

3
j
2
1
f

# n

n#
& # #

J
J
J

?#

45

5
1

5
3
2

#
#

2
1

4
2
1

4
2

3
1

5
1

- 2 3
- b

J
J
f

# - . - n - - - n

&
J .
J
- - n
.

? # n

48

. b n n . .. 2 1
.

J
J
decresc.

5
3
1

poco ritard. - poco meno mosso


5
3
2

4 (2 ) 3
2 (1 ) 1

#
& .. #

J
J
j
j
?#


2
3
4

51

u.c.

4
2
1

5
2
( 1)

5
2
1

( 5)
3

2
1
3

.
.
J
J
J J
J
P
-F

ggg

sempre u.c.

( 42 )

4
2

4
2 ( 3)

2
1
#
n

& ..
. # .

J
J
P

? # ggg

j
g

54

2
1

3
2

4
1

5
2


.
J
j
j


J
J

poco ritard.

.
& . J J


J
J
J
J
J
J
F
P

? #

57

a tempo

n .


& 5
.

.
#

J
J
J
J
.
2
J
J
L.H.
p1
3
1
3
1
5
2
2
1

?#1 .
.
.

p
.
.

60


.


&

J
J
J

J
J

5
2
4
p
?#

. flutter, or half pedal


-

63

p
#

.
&

.
J

J
J
J
J
J

?#

ggg

66

ritard.


&

J
J
J

69

?#

- - -

- - - -

- - -

- - U
- - - .


n
J
J
J .

#
.

#
.
u

Оценить