Bach's choral in Latin: Tu sanctus ardor, vere lux (Du heilige Brunst, süßer Trost)
  • Paolo
    Posts: 24
    I contrafacted the beautiful Bach's choral "Du heilige Brunst, süßer Trost" also known with the line "Komm heilige Geist, herre Gott" with a Latin text, ascribed to M. Praetorius. I modified a CC3.0 score found at imslp.org: https://vmirror.imslp.org/files/imglnks/usimg/d/d7/IMSLP238437-WIMA.f4da-BWV59_BA12.164-220.komm_heiliger_geist.pdf
    so the work can be freely used for non commercial purposes, and I also informed the original author of the transcription. I think the new syllabes and accents fit the music (I just have some doubt at bar 7), but if you have any suggestion it would be appreciated.
    Thanked by 1CHGiffen
  • RoborgelmeisterRoborgelmeister
    Posts: 396
    The first verse of this chorale text is a German versification of the antiphon Veni Sancte Spiritus by an anonymous poet of the 15th century. Martin Luther added verses 2 and 3, first published in 1524.
    The Antiphon Veni Sancte Spiritus reads in English: COME, Holy Spirit, fill the hearts of Thy faithful and kindle in them the fire of Thy love.
    From the Bach Cantata page, " This melody by an unknown composer dates back to the 15th century and perhaps is related somewhat to the melody for the hymn Adesto, sancta spiritus by Marchetto di Padua, circa 1270. It first appeared in the present form in Geystliche Gesangk Buchleyn (edited by Johann Walter) in Wittenberg, 1524, together with the additional verses Luther added."
    Much more information here:
    https://www.bach-cantatas.com/CM/Komm-Heiliger-Geist-Herre-Gott.htm
    Thanked by 1CHGiffen
  • Paolo
    Posts: 24
    I found the Latin text with the help of AI, the precise philological source, which it drew upon to reconstruct the metrical text is the corpus of Michael Praetorius's musical editions, particularly the volumes dedicated to bilingual compositions for late Reformation schools (Musae Sioniae and related projects such as the Puericinium).

    Specifically, the reconstruction of these contrafacta (Latin metrical adaptations created to replace the German texts without altering the notes) is extensively documented and analyzed in modern music catalogues and scholarly essays, including:

    The critical editions of the Gesamtausgabe (Complete Edition) of Michael Praetorius's works, originally edited by Friedrich Blume and Karl Ameln in the 20th century, where the critical apparatus lists all the texts (German and Latin) that Praetorius inserted under the individual cantabile parts for sopranos, tenors, and basses.

    17th-century school textbooks: Contemporary educational collections (such as Johann Hermann Schein's Cantionale of 1627 or Lucas Lossius's school textbooks), created specifically for German Lutheran gymnasiums, contained "metric translation" tables to allow boys studying Latin to sing Luther's chorales syllable by syllable.
    Thanked by 1Roborgelmeister
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