This six-verse hymn is based on the melody “Herzlich tut mich verlangen,” which Buxtehude used both for the solo cantata Herzlich tut mich verlangen BuxWV 42 and for a chorale prelude entitled Ach Herr, mich armen Sünder BuxWV 178. Apart from the “Amen,” with coloratura decoration, the text is set in a simple four-part texture. The accompanying violins are used in the prelude and interludes. This piece exists in a tabulatur copied by Düben before June 1687.
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- Walts Gott, mein Werk ich lasse
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Digital text (without sheet music) incl. printing licence, html file, singing text, english translationhtml file, singing text, english translation (Sample)If God grants it, I cease to work,
the sun prepares to rest.
It has completed its journey,
and slips back under its canopy.
So may my affairs also
pause for a time.
I want to take my rest
with a debt of gratitude.
My eyes and heart and hands,
O Jesus, Son of God,
I now turn towards you
for my daily wage,
for you yourself have come
into my workplace
and helped with my labors,
directing my mind and spirit.
You have strengthened my head,
put vigor in my fingers.
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Digital text (without sheet music) incl. printing licence, html file, singing text, originalhtml file, singing text, original (Sample)
Walts Gott, mein Werk ich lasse,
die Sonn Feirabend meldt.
Sie hat vollendt ihr Straße,
schleicht wieder in ihr Zelt.
So mögen auch mein Sachen
anstehen diese Zeit.
Ich will Feirabend machen
mit schuldger Dankbarkeit.
Mein Augen, Herz und Hände,
o Jesu, Gottes Sohn,
zu dir ich nunmehr wende
zum schuldgen Tagelohn,
denn du bist selbst getreten
an meine Werkstatt gut,
hast helfen mir arbeiten,
regiert mein’ Sinn und Mut.
Mein Haupt hast du gestärket,
mein’ Fingern geben Kraft.
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Digital text (without sheet music) incl. printing licence, html file, Introductory text, germanhtml file, Introductory text, german (Sample)Gekürztes Vorwort der Edition Carus 36.018
Thomas Schlage
Dieterich Buxtehude wurde um das Jahr 1637 wahrscheinlich in Helsingborg, das damals zu Dänemark gehörte, geboren. Dort wirkte sein Vater Johannes Buxtehude als Organist an der Mariekirke. Im Jahr 1641 oder 1642 übernahm Johannes Buxtehude die Organistenstelle an der St.-Olai-Kirke in Helsingør. Nach der Ausbildung zum Organisten, wohl bei seinem Vater, wurde Dieterich Buxtehude 1657 oder 1658 Organist an der Mariekirke in Helsingborg. 1660 ging er zurück nach Helsingør an die deutschsprachige Marienkirche. Acht Jahre später wurde er zum Werkmeister (Verwaltungsbeamter der Kirche mit vielfältigen Aufgaben) und Organist an St. Marien in der Hansestadt Lübeck gewählt. Bis zu seinem Tod im Jahre 1707 blieb Buxtehude in diesem Amt und führte die Tradition der bedeutenden Organisten an St. Marien sowie die als Abendmusiken bezeichneten Konzertveranstaltungen fort, die sein Vorgänger Franz Tunder (1614–1667) in Lübeck begründet hatte.
Die Choralkantate Walts Gott, mein Werk ich lasse ist in einer Abschrift Gustav Dübens überliefert und vermutlich im Frühjahr 1687 komponiert worden.
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Composer
Dieterich Buxtehude
| 1637-1707There are few documents concerning Buxtehude’s life. From a contemporary article in Nova literaria Maris Balthici, published soon after his death, we know that he regarded “Denmark as his homeland, from where he came to our region.”Dieterich Buxtehude, to use the spelling of his forename which he used when signing letters, was born about 1637 in Helsingborg, so he was a subject of the King of Denmark. His father, Johannes Buxtehude, was an organist, and taught his son sufficiently for him to become, in 1657 or 1658, an organist in Helsingborg and later in Helsingør. On the 11 April 1668 he was chosen to succeed Franz Tunder as organist at St. Marien in Lübeck, and until his death on 9 May 1707 Buxtehude remained in that position, one of the most important in northern Germany. After his death in 1707 musical experts praised Dieterich Buxtehude particularly for his keyboard music. For example, Johann Mattheson referred to him as a “highly regarded, former Lübeck organist.” That appreciation was based not on printed works, but on manuscript copies of his keyboard compositions, and on his reputation as a virtuoso which he enjoyed throughout Germany. Thus in 1703 Georg Friedrich Händel and Johann Mattheson were in Lübeck, and during the winter of 1705–06 Johann Sebastian Bach also went to Lübeck to study under Buxtehude so as to perfect his technique in composition and organ playing. Together with vocal music and music for keyboard instruments, two publications of his trio sonatas are extant. We know of the “Abendmusiken” in Lübeck from libretti printed for those occasions, but unfortunately the music is lost. That tradition of events similar to concerts was taken over by Buxtehude from his predecessor Franz Tunder. Personal details
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Editor
Thomas Schlage
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