Valet will ich dir geben

Valet will ich dir geben

The source cantata:

Title: Christus, der ist mein Leben

No.: 95

Date: 1723

Occasion: Trinity XVI

Scored for: S., T., B., choir, ob. I-II, ob. d'amore I-II, cornettino, stgs. & cont.

The transcription and its source movement:

Movement: No. 3: The chorale movement Valet will ich dir geben

Tune: M. Teschner 1615

Text: "Valet will ich dir geben, / du arge, falsche Welt, / dein sündlich böses Leben / durchaus mir nicht gefällt. / Im Himmel ist gut wohnen, / hinauf steht mein Begier, / da wird Gott ewig lohnen / dem, der ihm dient allhier."

Originally scored for: Ob. d'amore I + II (unisono), Soprano (c.f.) & cont.

Transcribed as: A trio movement for organ with cantus firmus in the pedal (4'). The upper voices can eventually be played on one manual.

Key in the cantata: D Major

Key in the transcription: C Major (range in the pedal: from c to e')

Comments: The bars 1-12 have been added by using material from the rest of the movement. In the bars 13-19 and in bar 20 (the first note) the upper voice has been added. The bars 1-12 can eventually be omitted as they were not originally a part of the work.

Peter Bækgaard

Title:	*Christus, der ist mein Leben*
No.:	95
Date:	1723
Occasion:	Trinity XVI
Scored for:	S., T., B., choir, ob. I-II, ob. d'amore I-II, cornettino, stgs. & cont.

Movement:	No. 3: The chorale movement Valet will ich dir geben
Tune:	M. Teschner 1615
Text:	"Valet will ich dir geben, / du arge, falsche Welt, / dein sündlich böses Leben / durchaus mir nicht gefällt. / Im Himmel ist gut wohnen, / hinauf steht mein Begier, / da wird Gott ewig lohnen / dem, der ihm dient allhier."
Originally scored for:	Ob. d'amore I + II (unisono), Soprano (c.f.) & cont.
Transcribed as:	A trio movement for organ with cantus firmus in the pedal (4'). The upper voices can eventually be played on one manual.
Key in the cantata:	D Major
Key in the transcription:	C Major (range in the pedal: from c to e')
Comments:	The bars 1-12 have been added by using material from the rest of the movement. In the bars 13-19 and in bar 20 (the first note) the upper voice has been added. The bars 1-12 can eventually be omitted as they were not originally a part of the work.