Columbia : M2 32497

from Part III of Bach's "Klavierübung" ANTHONY NEWMAN Boston Archdiocesan Boys Choir* Theodore Marier, Music Director Side 1 ORGAN PRELUDE IN E-FLAT MAJOR (St. Anne), BWV 552 : 1 "KYRIE, GOTT VATER IN EWIGKEIT" Chant/ Trope/ Harmonized Chorale/ Organ Prelude, BWV 669 "CHRISTE, ALLER WELT TROST" Chant/ Trope/ Harmonized Chorale/ Organ Prelude, BWV 670 "KYRIE, GOTT HEILIGER GEIST" Chant/ Trope/ Harmonized Chorale/ Organ Prelude, BWV 671 Side 2 "KYRIE, GOTT VATER IN EWIGKEIT" Unison Chorale/ Organ Prelude, BWV 672 "CHRISTE, ALLER WELT TROST" Unison Chorale/ Organ Prelude, BWV 673 "KYRIE, GOTT HEILIGER GEIST" Unison Chorale/ Organ Prelude, BWV 674 "ALLEIN GOTT IN DER HÖH' SEI EHR'" ( Part 1 ) Chant/ Trope/ Unison Chorale/ Organ Prelude, BWV 675 "ALLEIN GOTT IN DER HÖH' SEI EHR'" ( Part 2 ) Harmonized Chorale/ Organ Prelude, BWV 676 "ALLEIN GOTT IN DER HÖH' SEI EHR'" ( Part 3 ) Unison Chorale/ Organ Prelude ( Fugue ) , BWV 677 Side 3 "DIES SIND DIE HEIL'GEN ZEHN GEBOT" Harmonized Chorale ( Verse I ) /Organ Prelude, BWV 678 Harmonized Chorale ( Verse II ) /Organ Prelude ( Fugue ), BWV 679 "WIR GLAUBEN ALL' AN EINEN GOTT" Unison Chorale ( Verse I ) /Organ Prelude, BWV 680 Unison Chorale (Verse II ) /Organ Prelude ( Fugue ) , BWV 681 "VATER UNSER IM HIMMELREICH" Harmonized Chorale ( Verse I ) / Organ Prelude, BWV 682 Harmonized Chorale ( Verse II ) /Organ Prelude, BWV 683 "CHRIST, UNSER HERR, ZUM JORDAN KAM" Harmonized Chorale ( Verse I ) / Organ Prelude, BWV 684 Harmonized Chorale ( Verse II ) / Organ Prelude, BWV 685 Side 4 "AUS TIEFER NOT SCHREI ICH ZU DIR" Harmonized Chorale ( Verse I ) /Organ Prelude, BWV 686 Harmonized Chorale (Verse II ) / Organ Prelude, BWV 687 "JESUS CHRISTUS, UNSER HEILAND" Harmonized Chorale ( Verse I ) / Organ Prelude, BWV 688 Harmonized Chorale (Verse II ) /Organ Prelude ( Fugue ), BWV 689 ORGAN PRELUDE IN E-FLAT MAJOR (St. Anne), BWV 552 : 2 The Mass is in the public domain. *Boston Archdiocesan Choir School at St. Paul Church, Cambridge; John Dunn, Organist

Part III of the Klavierübung includes the Prelude and Fugue in E-Flat Major, 21 Chorale Preludes, and four so-called "duets." The collection of 21 Chorale Preludes, together with the Prelude and Fugue in E-Flat Major, represents J.S.Bach's most mature and involved work for clavier solo. I say most mature, since it embodies his late compositional principles of symmetry or balance.

The third part of the Klavierübung was published by Bach in 1739, and, within the title, he describes the main body of the publication, the chorales: "various preludes on the Catechism and other songs for the organ ". It is quite possible that Bach thought of the chorales as substitutes for sung portions of the service, but this possibility is not stated in the title.

The beginning of the third "Teil" is the Prelude in E-Flat Major, one of Bach's largest essays in this manner. The textures within the composition resemble many different treatments available to a Baroque composer: French Overture, being in cut time, employing dotted rhythms and upbeat flourishes in sections separated by fugal textures; and Rondo, being, in fact, a giant rondo in the form ABACABCA. It is a single work, however, constructed on three ideas and, therefore, quite lavish in its usage of material, since it was usually Bach's method of composition to employ only one idea, at most two, within a single composition. It surpasses all of his other clavier preludes in scope and grandness.

Following the Prelude in E-Flat Major are a series of 21 Chorale Preludes based on tunes familiar to the churchgoers of Bach's time. We have chosen to present the chorale preludes together with the antecedents to the chorale tunes whenever possible. For example, the first chorale prelude tune, Kyrie, Gott Vater in Ewigkeit, has its origin in the pre-Tenth-century Gregorian chant Kyrie fons bonitatis. The added German words to the plain-chant tune ( called troping ) represent the next step; and finally the chorale tune as we know it appears. The listener will hear first the plain chant Kyrie, then the trope, then the chorale tune as harmonized by Bach, and, finally, the prelude based on this last version of the tune.

Only the first two tunes have Gregorian antecedents ( Kyrie, Gott Vater in Ewigkeit, and Allein Cott in der Höh' sei Ehr' ). The rest stem from later sources. There are eight melodies in all, available at that time in the Neu Leipsic Gesangbuch of Gottfried Vopelius, circa 1682. There are two chorale preludes for each chorale tune, and in one case three ( Allein Gott in der Höh' sei Ehr' ). Second versions are shorter and for manuals alone. The key schemes for the two or three preludes are also different, usually a whole step apart. ( This probably has some mystical significance not readily perceivable to this writer. I say this knowing that Bach did, in fact, use number symbolism and motif symbolism within his mature compositions. Some of these will be pointed out in the course of this essay. )

The first Chorale Prelude, Kyrie, Gott Vater in Ewigkeit, is in a style reminiscent of Frescobaldi's organ mass style in Fiori Musicali, 1635. We know that Bach possessed a copy of this work, and its influences are quite apparent in the Latin plain-chant-based works of the "dritte Teil ". The cantus firmus is in the upper voice with a rich counterpoint in the other voices based on the opening few notes of the melody. It is in four parts throughout. The second prelude, Christe, aller Welt Trost, is of a similar nature, although this time the chorale tune is present in the tenor, certainly the most classic placement for the cantus firmus. The third Chorale Prelude, Kyrie, Gott heiliger Geist, is an extraordinarily brilliant and effective work, in five parts, with the cantus in the pedal. At the end the harmony grows bolder and richer. These first three preludes correspond to the Latin Mass section Kyrie eleison, Christe eleison, Kyrie eleison, and are placed together without their smaller versions because of liturgical necessity. Following these three large settings are the three smaller settings, also placed together.

These three smaller preludes present a variety of time signatures: 2/4, 6/8, and 9/8. I am sure that time signatures were methodically used by Bach to create variety among his larger works composed of smaller pieces. Certainly the Goldberg Variations are composed in this manner. Each time signature featured a certain impulse and tempo scheme inherently built into the signature.

The first of these three shorter preludes, Kyrie, Gott Vater in Ewigkeit, is a quiet, perhaps dreamy, work built on the first three notes of the Gregorian Kyrie. The harmonic motion is rather startling: It begins in G Major and ends in E Major. Christe, aller Welt Trost, is the second prelude: a real tour de force of imitation, gigue-like, starting in C Major and ending, like its predecessor, in E Major. The last prelude: Kyrie, Gott Vater in Ewigkeit, resembles a fugal texture. The final notes in the soprano of the first and second small preludes supply the beginning notes for the second and third small preludes, and I have brought this out on the recording by holding these important notes slightly longer than the others.

The first version of Allein Gott in der Höh' sei Ehr', for manuals alone, is like a two-part invention with an added cautus. I have played the cantus voice on a four-foot stop in the pedals to give greater flexibility to registration of the outer parts. It is one of those rhythmically tricky compositions, containing both duple and triple figures, occasionally combining the two, in which case I have altered the duplets to coincide with the triplets. The second prelude on the tune is a trio of great beauty and complexity, the chorale melody peeking through in both the manual and pedal lines, and brought out on this recording with a solo stop in each case. In composing the repeat of the first line ( the common situation for a chorale tune of Bach's time ) , Bach has simply inverted the upper two lines, leaving the pedals constant, in one of his most brilliant displays of invertible counterpoint The third version is a short fugue derived freely from fragments of the tune. The time signature scheme of the three: 3 /4, 6/ 8, and C.

The first version of Dies sind die heil'gen zehn Gebot is composed in a texture that Bach was quite fond of: cantus finmus in canon with itself ( usually at the octave or unison ), with figurations derived from the tune surrounding it. This prelude is in five voices and utilizes two different materials, both derived rather freely from the tune. The first is a slow and quiet line, introduced in measure I and invented from the inversion of the rising motif G A B of the chorale. The second motif is much quicker and more sprightly, being a diminution of the rising-third idea, with slurs written in by the composer Bach marks off the mid-point of the composition, measure 30, by returning briefly to the opening idea. A mysterious and swift pedal entrance in measures 46 and 47 is brought out in this recording, representing a symbolic gesture. Perhaps it is Moses climbing down from Mount Sinai after his revelation. The chorale text at this point is "hoch auf dem Berg Sinai."

In the second version, Bach capitalizes on the repeated-note idea of the chorale and produces a really humorous fugue for manuals alone. The texture erupts in measure 27 when the 16th notes accumulate, producing a cascade of sound. I used the enchamade ( placed outside the organ case ) trumpets for this fugue. The first version of Wir glauben all' an einen Gott is a three-voice fugue in organo pleno with an obbligato and constantly uniform line in the pedal that is not based any aurally recognizable idea from the fugue subject. The concept is very compositionally, even more so when one considers standard practice of the Baroque.

A bizarre fugue in three voices with fast, upbeat figurations provide the second version.
Like the Dies sied ... (first version) the Vater unser im Himmelreich (first version) is an elaborate and canonic work, this time of great emotional intensity and compositional complexity. The interpreter must solve the problem of a written three-against-four figuration that occurs frequently. Bach marks off measure 41 , the reverse of 14 (the sum of the name B A C H) with a motivic pedal entrance, the only such entrance in the composition I believe that fugued works of Bach for two keyboards in five voices have as their model similar compositions by the French organ composer Nicolas de Grigny. Bach copied out in his own hand ( will recent scholarship still attest to this? ) Grigny's Livre d'Orgue of 1699. Therefore, it is quite likely that Grigny's registration should be used: cromorne ( reed ) against cornet in the manuals, and a flute registration in the pedals.

The second version of Vater unser is a quiet, flowing work in four parts, played here on the 4-foot flute of the Brustwerk. Christ, unser Herr, zum Jordan kam is one of Bach's organ works that evokes other instrumental combinations: perhaps two violins for the upper voices, continuo bass, plus a low-range reed instrument to play the cantus. The writing is brilliant throughout, abounds in imitations, is non-fugal, and features a bass that Albert Schweitzer might have described as "rolling about like waves on the Jordan." Measure 42 features a device that could be called "omission" --- that is, Bach uses the same materials in the manuals, plus the same material ( chorale theme ) in the pedal, but minus the last note, giving the impression that the organist forgot to play the last note of the chorale. High-level humor!

The other version of this chorale starts with a rhythmic displacement ( hemiolia ) of the time signature (3/4). ( Bach also uses hemiolia in the beginning of the G-Major fugue from Book II of "The Well-Tempered Clavier." ) Severe humor is rampant throughout, with fragments of the chorale appearing in all voices.

Aus tiefer Not schrei ich zu dir is one of two works for keyboard in six voices. As far as I know, the ricercare in six voices ( written out by Bach in a version for clavier) is the only other six-part work. The registration of organo pleno is given and, as such, should show that Bach was at times fond of a very rich and full sound, as pleno would indicate 16-foot stops in the manuals and 16-foot stops in the pedals as part of the ensemble. The right foot plays the cantus throughout, with the composition treated in the manner of a chorale fugue, i.e., a series of fugues developed from the opening parts of each section of the chorale. This prelude is unmatched in all of Bach's chorale prelude writing in grandness and intensity.

The second version is, again, a chorale fugue, this time in four voices. I have registrated it in a quiet manner over three keyboards. On the last "b" of measure 66, in the tenor, I have added the ficta ( B flat ). At least, Brahms would have approved.

Jesus Christus, unser Heiland is a trio with the chorale tune in the pedal. It is a piece of phenomenal brilliance and difficulty, using hockets as part of the texture and rather unlikely inversions of the opening material.

The second version of the chorale, a fugue in four parts, is built on the opening few notes of the chorale, and is quite introspectively conceived.

The final work of the entire composition is a magnificent fugue in three sections. The first section is of 36 measures, the second of 45 measures, and the third of 36, indicating Bach's proportion plan Each section has a different time signature (C, 6/4, and 12/8). All three sections are treated fugally. The first fugue is in five parts, and according to popular opinion, represents the "Father" God, grand but slow and about to give life to the "Son" God, a quick-witted fugue? To make the Trinity complete, we unite by means of stretto to God the Holy Ghost, leading to a truly celestial and sonorous ending in E-Flat Major. What a delight for Trinitarians! Tempo relations are obvious from the signature: Each half-note of the first section equals a dotted half-note of the second section; the dotted half-note of the second section equals the dotted quarter-note of the third




THE SUNG CHORALES

As vocal introductions to each of the organ chorales, the choir sings the hymn tunes, with appropriate texts, that form the bases for the organ works that follow. The choice of keys for the hymns has been dictated by the keys of the organ compositions to which they are linked.

The choir sings the hymns in Bach's own four-part settings whenever they introduce the larger organ compositions that make use of the pedals of the instrument It is believed that they might have been sung in this manner in the Lutheran churches of Leipzig, in Bach's day, where the choral forces and an organ with full pedal keyboard were available, or when the liturgical celebrations warranted an ample and impressive statement of the hymn.

On the other hand, the hymn tunes are sung in unison whenever they introduce the simpler, less-developed compositions that require manuals alone without pedals It is possible that such simpler organ verses of the hymn tunes could have followed the unison congregational rendition of the melodies in those churches that had no choirs; or where the organ had no pedals; or, finally, on those occasions when a simpler liturgy might indicate a less solemn rendition of the hymn.

In several instances for this recording, the choir sings the original Gregorian Chants out of which the chorale tunes were formed. The choir sings, also, the German trope versions of the tunes that are the immediate predecessors of the Lutheran chorale melodies that Bach knew. Thus, in these choral-organ sequences, one hears the evolution of the tune from its original, free-rhythm version through the verbally rhythmed troped version, into its ultimate metrical structure that served as a catalyst for Bach's creativity.

The first six organ works of the Klavierübung III, for example, are based on medieval chant melodies. While, these six compositions are actually two settings Bach of the Kyrie-Christe-Kyrie acclamation to the Holy Trinity as found in the Lutheran order of worship, the musical phrases of these compositions arise out of the Kyrie fons bonitatis.

The choir sings the original chant version of the Kyrie, and follows this with a rendition of the Reformation trope version of the same melody, known as the Kyrie, Gott Vater in Ewigkeit, in which German words were added to the notes of the extended vocalises of the chant. The choir then sings the measured version of the tune in the form that Bach knew and harmonized. At the summit, as it were, of the melody's evolutionary progression, the organ peals forth Bach's non-verbal crown of sonorous glory. For the remainder of the set, namely , the Christe, aller welt Trost, and the Kyrie, Gott heiliger Geist, the same sequence of chant-trope-hymn-organ work, is adopted.

A similar melodic transformation is found in the Allein Gott. The opening phrase of the Gloria in excelsis Deo from the Gregorian Missa Lux et Origo, is heard evolving through the triplemetered trope to the majestic hymn tune that Bach knew and favored. As mentioned above, Bach provides three settings for this tune ( another allusion to the Holy Trinity? ) whereas he gives only two settings to each of the tunes in the remainder of the set.

As found in the hymnals of the period, the melody of the Wir glauben was composed by Luther to support the sung rendition of the articles of the Faith. Since Bach uses only the opening four notes of this hymn as the head of the fugue and the fughetta themes, and because the hymn by itself is unduly long, the choir sings only the first phrases of the hymn. All the other hymns are sung either in unison or in the four-part settings provided by Bach.

-Anthony Newman




THE TEXTS


KYRIE, GOTT VATER IN EWIGKEIT

Kyrie, eleison. Kyrie, Gott vater in ewigkeit, Gross ist dein Barmherzigkeit, Aller Ding ein Schöpfer und Regierer: Eleison. Christe, eleison. Christe, aller Welt Trost. Uns sünder allein du hast erlöst. O Jesu Gottes Sohn, Unser Mittler bist in dem höchsten Thron, Zu dir schreien wir aus herzens begier: Eleison. Kyrie, eleison. Kyrie, Gott Heiliger Geist, Tröst, stärk uns in Glauben allermeist, Dass Wir am letzen End Frölich uns scheiden aus diesem Elend : Eleison. ( Naumburg, 1537 )

Lord, have mercy. Lord, our Father for evermore! We thy wondrous grace adore; We confess Thy pow'r, all worlds upholding. Grant mercy, Lord. Christ, have mercy. O Christ, our hope alone Who with Thy blood didst for us atone, O Jesu. Son of God! Our Redeemer! Our Advocate on high! Lord, to Thee alone in our need we cry. Grant mercy, Lord. Lord, have mercy. Holy Lord. God the Holy Ghost! Who of life and light the fountain art, With faith sustain our heart That at last we hence in peace depart. Grant mercy, Lord. ( A.T. Russell. 1851 )

ALLEIN GOTT

Gloria in excelsis Deo, et in terra pax hominibus bonae voluntatis. Laudamus te. Benedicimus te. Adoramus te. Allein Gott in der Hoh sei Ehr' Und dank für seine Gnade, Darum dass nun und nimmermehr Uns rühren kann kein Schade. Ein wohlgefallen Gott an uns hat, Nun ist gross Fried ohn' Unterlass, All' Fehd' hat nun ein Ende. Wir loben, prein anbeten dich, Für deine Ehre wir danken, Das du, Gott Vater ewiglich, Regierst ohn' Alles Wanken. Ganz ungemessen ist dein Macht, Fort g'schieht, was dein Will hat bedacht: Wohl uns des seinen Herren! O Jesu Christ, Sohn eingeborn Deines Himmlichen Vaters, Versohner dcr, die warn verlorn, Du stiller unsers Haders : Lamm Gottes Heil'ger Herr und Gott Nimm an die Bitt von uns'rer Noth, Erbarm dich unser Arnlen. (Nicolaus Decius, 1539 )

Glory to God in the highest and on earth peace to men of good will. We praise you. We bless you. We worship you. All glory be to God on high, Who hath our race befriended! To us no harm shall now come nigh, The feud at last is ended; God showeth His goodwill t'ward men, And peace shall dwell on earth again; Oh thank Him for His goodness. We praise, we worship Thee, we trust, And give Thee thanks for ever. O Father, that Thy rule is just And wise, and changes never: Thy boundless power o'er all things reigns, Done is what'er Thy will ordains; Well for us that Thou rulest! O Jesu Christ, our God and Lord, Son of the heavenly Father, O Thou Who hast our peace restored And doth the lost sheep gather, Thou Lamb of God, to Thee on high From out our depths we sinners cry, Have mercy on us. Jesus. ( Catherine Winkworth, 1865 )

DIES SlND DIE HEIL'GEN ZEHN GEBOT

Dies sind die Heil'gen zehn Gebot, Die uns gab unser Herre Gott Durch Mosen, seinen Diener Treu, Hoch auf dem Berg Sinai. Kyrie eleis. lch bin allein dein Gott der Herr, Kein Götter sollt du haben nehr; Du sollt mir ganz vertrauen dich, Von Herzens grund lieben mich. Kyrie eleis. ( Anonymous )

These are the holy ten commands Which came to us from God's own hands By Moses, who obeyed His will, Standing upon Sinai's hill Have mercy, Lord. I am the Lord thy God alone; Of gods beside thou shal1 have none; Thou shalt thyself trust all to Me, Right heartily shalt love Me. Have mercy, Lord. ( George MacDonald, 1876 )

WIR GLAUBEN ALL' AN EINEN GOTT

Wir glauben all'an einen Gott, Schöpfer Himmels und der Erden. Der sich zum Vater geben hat, Dass wir seine Kinder werden. Wir glauben auch an Jesus Christ, Seinen Sohn und unsern Herren, Der ewig bei dem Vater ist, Gleicher Gott con Macht und Ehren. ( Martin Luther, 1524 )

We believe in but One true God, Maker of earth and heaven; The Father who to us in love Hath the claim of children given. We believe in Lord Jesus Christ, His own Son our Lord possessing An equal Godhead, throne and might, Whence descends the Father's blessing. ( Chorale Book for England, 1865 )

DIES SlND DIE HEIL'GEN ZEHN GEBOT

Dies sind die Heil'gen zehn Gebot, Die uns gab unser Herre Gott Durch Mosen, seinen Diener Treu, Hoch auf dem Berg Sinai. Kyrie eleis. lch bin allein dein Gott der Herr, Kein Götter sollt du haben nehr; Du sollt mir ganz vertrauen dich, Von Herzens grund lieben mich. Kyrie eleis. ( Anonymous )

These are the holy ten commands Which came to us from God's own hands By Moses, who obeyed His will, Standing upon Sinai's hill Have mercy, Lord. I am the Lord thy God alone; Of gods beside thou shal1 have none; Thou shalt thyself trust all to Me, Right heartily shalt love Me. Have mercy, Lord. ( George MacDonald, 1876 )

VATER UNSER IN HIMMELREICH

Vater unser im Himmelreich, Der du uns, alle heissest gleich Br&$252;der sein und dich rufen an Und willt das Beten von uns han; Gieb dass bet allein der Mund; Hilf, dass es geh aus Herzens Grund Dein will gescheh, Herr Gott, zugleich Auf Erden wie im Himmelreich: Gieb uns Geduld in Leidenszeit, Gehorsam sein in Lieb und Leid : Wehr und steur allem Fleisch und Blut Das wider deinen Willen thut. ( Martin Luther, 1539 )

Our Father in the heaven Who art, Who tellest all of us in heart Brothers to be, and on Thee call, And wilt have prayer from one and all, Grant that the mouth not only pray, From deepest heart, O help its way. Thy will be done, the same, Lord God, on earth as in Thy high abode; In pain give patience for relief, Obedience, too, in love and grief; All flesh and blood keep off and check That 'gainst Thy will makes a stiff neck. ( George MacDonald, 1876 )

CHRIST, UNSER HERR, ZUM JORDAN KAM

Christ, unser Herr, zum Jordan kam Nach seines Vaters willen, Von Sanct Johanns die Taufe nahm, Sein Werk und Amt' zu'rfüllen. Da wollt er stiften uns ein Bad, Zu waschen uns von Sünden; Ersäfern auch denn bittern Tod Durch sein selbst Blut und Wunden; Es galt ein neues leben. Das Aug allein das Wasser sieht Wie Menschen Wasser giessen: Der Glaub im Geist die Kraft versteht Des Blutes Jesu Christi; Und ist vor ihm ein rothe Fluth Von Christi Blut gefärbet, Die allen Schaden heilen thut, Von Adam her geerbet, Auch von uns selbs begangen. ( Martin Luther, 1541 )

To Jordan when our Lord had gone, His Father's pleasure willing, He took His baptism of St.John, His work and task fulfilling; Therein He would appoint a bath To wash us from defilement, And also drown that cruel Death In His blood of assoilment: 'Twas no less than a new life. Let all then hear and right receive The baptism of the Father, And what a Christian shall believe, To shun where heathen gather. Water indeed, not water mere, In it can do His pleasure, His Holy Word is also there With Spirit rich, unmeasured: He is the one Baptizer. ( George MacDonald, 1876 )

AUS TIEFER NOT SCHREI ICH ZU DIR

Aus tiefer Not schrei ich zu dir, Herr Gott, erhör mein Rufen! Dein gnädig Ohren k_ehr zu mir Und meiner Bitt sie Öffen. Denn so du willt das sehen an, Was Sülnd und Unrecht ist gethan; Wer kann, Herr, vor dir bleiben? Bei dir gilt nichts denn Gnad und Gunst, Dir Sünde zu vergeben. Es ist doch unser Thun umsonst Auch in dem besten Leben. Vor dir niemand sich rühmen kann; Dess muss dich fürchten jedermann Und deiner Gnaden leben. ( Martin Luther, 1524 )

From trouble deep I cry to Thee; Lord God, hear Thou my crying; Thy gracious ear, O turn to me, Open it to my sighing. For if Thou mean'st to look upon The wrong and evil that is done, Who, Lord, can stand before Thee? With Thee availeth nought but grace To cover mortal weakness;' Our good deeds cannot show their face, Not one is there who's stainless. Before Thee no one glory can, And so must tremble every man, And live by Thy grace only. ( George MacDonald, 1876 )

JESUS CHRISTUS, UNSER HEILAND

Jesus Christus, unser Heiland, Der von uns den Gottes Zorn wandt, Durch das bitter Leiden sein Half er uns aus der Hölen pein. Das wir nimmer dess vergessen Gab er uns sein Leib zu essen, Verbordeu in Brot so klein, Und zu trinken sein blut im Wein. ( "Jesu. Christus, nostra salus" by J. Hus, 1415. Tr. by Martin Luther, 1524 )

Jesus Christ, our Lord and Savior, Turn, we pray, God's anger from us; Thro' the woe which Thee befell, Protect us from the pains of hell. That we never should forget it Giveth us His Flesh to eat it, Hid in bread, and, feast divine, His precious Blood to drink as wine. (H.S. Drinker and C.S. Terry)