J.S. Bach: Jesu, Joy of Man's Desiring (Synthesized)

Johann Sebastian Bach (1685-1750) was a busy composer in his post as music director and cantor at the Thomaskirche in Leipzig, often recycling the best parts of earlier works and recomposing them into a piece for a religious feast. The Cantata No. 147, “Herz und Mund und Tat und Leben” (Heart and Mouth and Deed and Life) is no exception. Bach, reworked music he had written in 1716 during his Weimar period and added a 10th (and 6th) section, the 2nd time around in 1723. “Jesu bleibet meine Freude,” whose melody we know as “Jesu(s), Joy of Man's Desiring,” one of Bach's best-loved works. Originally destined for the 4th Sunday of Advent, the new version became a setting for the Feast of the Visitation of the Blessed Virgin Mary (originally celebrated in May but now in July in the Roman Catholic calendar). In modern times the piece is more associated with Advent as immediately anticipating the birth of Jesus Christ. This is one of the reasons it is has become such a Christmas classic.

Contrary to the common assumption, however, Bach did not compose the piece! The lyrics for “Jesu bleibet meine Freude,” were inspired by the sixth and seventeenth stanzas of a hymn titled “Jesu, meiner Seelen Wonne” (Jesus, my soul’s bliss) by Martin Janus (or Jahn, 1620-1682) that first appeared in the 1661 publication “Frommer Christen tägliches bet-kämmerlein” (“Pious Christians daily private prayers”). The movement’s underlying choral melody was taken from a similar 1642 hymn titled “Werde munter, mein Gemüthe” (Become cheerful, my mind) by the German virtuoso violinist and composer Johann Schop (1590-1667). Bach's only contribution, though ultimately masterful, was to harmonize and orchestrate it for the chorus closing (chorale movements #6 and #10) of the cantata; It is one segment (used twice) of an extended, approximately 20-minute treatment of a full traditional Church hymn.

Regardless of Bach’s involvement with the music, he popularized the melody for generations to come. It is a Baroque standard that has become synonymous with Christmas music as well as Easter. It is also a perennial favourite at weddings when the bridal party enters.

The Beach Boys 1979 song “Lady Lynda,” which was a #6 hit in the UK, is based on “Jesu’s” melody, and the British instrumental studio group Apollo 100 scored a #6 1972 US hit with “Joy,” a fast-paced instrumental version of it.

I realized this piece in my standard “Carlosian” treatment, with string (backing) and organ-like (replacing the choir) timbres. Towards the finale, I’ve added some “tubular bells” to enhance the religious intent the music celebrates.

As always, the use of headphones will greatly enhance the listening experience.


For those wanting to follow the music presented with the Music Animation Machine visualization, the instruments are as follows:

Sopranos - Orange
Altos - Light Orange
Tenors - Yellow
Basses - Green
Violins 1 - Turquoise
Violins 2 - Blue
Violas - Purple
Cellos - Fuchsia
Double-basses - Pink