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The word Bar is most likely a shortening of Barat,ĭenoting a skillful thrust in fencing. In their work, a Bar is not a single stanza (which they called a Liet or Gesätz) rather, it is the whole song. The term comes from the rigorous terminology of the Meistersinger guilds of the 15th to 18th century who used it to refer to their songs and the songs of the predecessors, the minnesingers of the 12th to 14th century. īar form (German: die Barform or der Bar) is a musical form of the pattern AAB. Several English translations have been made of the hymn, including Catherine Winkworth‘s “Jesu, priceless treasure” of 1869, and it has appeared in around 40 hymnals. In the current German Protestant hymnal, Evangelisches Gesangbuch, it is No. There have been choral and organ settings of the hymn by many composers, most notably by Johann Sebastian Bach in his funeral motet, BWV 227, for unaccompanied chorus and in his chorale prelude, BWV 610, for organ. The melody repeats the first line in the last, framing each of the six stanzas. The poetry is bar form, with irregular lines from 5 to 8 syllables. The text addresses Jesus as joy and support, versus enemies and the vanity of existence. The song first appeared in Crüger’s hymnal Praxis pietatis melica in 1653. “ Jesu, meine Freude” (Jesus, my joy) is a hymn in German, written by Johann Franck in 1650, with a melody by Johann Crüger.
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Febias Chorale is studying the first part of this motet