Music Corner by Herb Tardiff
O Sacred Head, Now Wounded
Author- Attributed to Bernard of Clairvaux, 1091-1153
Translated into German by Paul Gerhardt, 1607-1676
Translated into English by James W. Alexander, 1804-1859
Music- Hans Leo Hassler, 1564-1612
Harmonized by Johann Sebastian Bach, 1685-1750
Tune Name- “Passion Chorale”
Meter- 76.76 Doubled
The text of this deeply-moving hymn is thought to have its roots in twelfth-century monastic life. It has long been attributed to Saint Bernard, abbot of the monastery of Clairvaux, France. Recent research, however, has raised some questions as to whether this was actually the work of Saint Bernard or possibly the writings of a later medieval author, Arnulf von Loewen.
“O Sacred Head, Now Wounded” is taken form a lengthy, medieval poem Rhythmica Oratio, in seven parts, with each part addressing various members of Christ’s body as He suffered on the cross: His feet, knees, hands, side, breast, heart, and face. This hymn text is from the seventh portion of the poem and was originally titled “Salve Caput Cruentatum.” The German translation by Paul Gerharddt first appeared in 1656 in the German hymnal, Praxis Pietatis Medlica. Here it was titled “O Haup voll Blut Wunden” (“To the Suffering Face of Jesus Christ”). The hymn text first appeared in English, in 1830, in the hymnal, The Christian Lyer, after James W. Alexander, a Presbyterian minister, had translated Paul Gerhardt’s free German translation.
The tune, “Passion Chorale,” was originally a German love song (“My Heart is Distracted by a Gentle Maid”) in Hans Leo Hassler’s collection, Lustgarten Neuer Deutscher Gessang, of 1601. Hassler is generally considered to be one of the finest German composers of the late Renaissance, in both secular and sacred music. The tune first appeared with Gerhardt’s text in the Praxis Pietatis Melica, published by Johann Cruger, in 1644. It has been associated with this text both in German and in English ever since. The Praxis Pietatis Melica is recognized as the most influential and widely used German hymnal of the seventeenth century. Within one hundred years after its initial publication, nearly fifty editions of the hymnal had been printed.
The harmonization of this tune is by the German master-composer, Johann Sebastian Bach, undoubtedly the greatest church musician of history. Bach was not only a superb musician (to study traditional harmony today is still to study the writings of Bach), but also a devout Christian, who insisted that “the aim and final reason of all music should be nothing else but the glory of God and the refreshment of the spirit.” Many of Bach’s compositions began with the inscription, “Jesus, help me!” And at their close, “To God alone be the praise.” It would appear that Bach was especially fond of this melody, since he used the chorale five times throughout his well-known St. Matthew Passion, composed in 1729.
The present musical version of this hymn is really a combination of various harmonizations of this melody employed by Bach.
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