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Jesu, Joy of Man's Desiring
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Jesu, Joy of Man's Desiring : ウィキペディア英語版
Jesu, Joy of Man's Desiring
Jesu, Joy of Man's Desiring is the most common English title of the 10th and last movement of the cantata ''Herz und Mund und Tat und Leben'', BWV 147 ("Heart and Mouth and Deed and Life"), composed by Johann Sebastian Bach in 1716 and 1723.
A transcription by the English pianist Myra Hess (1890–1965) was published in 1926 for piano solo and in 1934 for piano duet.〔Boyd, M., ed. "Jesu, Joy of Man's Desiring", ''The Oxford Composer Companions: J. S. Bach'', Oxford University Press〕 The British organist Peter Hurford made his organ transcription for the chorale movement as well. Today, it is often performed at wedding ceremonies as well as during Christian festive seasons like Christmas and Easter, slowly and reverently. This is, however, in contrast to the effect suggested by Bach in his original scoring,〔Kennedy, M., ed. "Jesu, Joy of Man's Desiring", ''Oxford Dictionary of Music'', Oxford University Press〕 for voices with trumpet, oboes, strings, and continuo.
==Background==
Much of the music of ''Herz und Mund und Tat und Leben'' comes from Bach's Weimar period. This earlier version (BWV 147a, composed 1716) lacked the recitatives, but included the opening chorus and the four arias incorporated into the later version. For Leipzig (composed 1723), Bach added three recitatives and the celebrated chorale movement which concludes each of the two parts.〔"Herz und Mund und Tat und Leben", ''The Oxford Composer Companions: J. S. Bach'', Oxford University Press〕
Although it is the 32nd surviving cantata that Bach composed, it was assigned the number BWV 147 in the complete catalogue of his works.〔(Bach Cantatas, Chronological Listing )〕 Bach wrote a total of 200 cantatas during his time in Leipzig, largely to meet the Leipzig Churches' demand for about 58 different cantatas each year.
Contrary to the common assumption, the violinist and composer Johann Schop, not Bach, composed the movement's underlying chorale melody, ""; Bach's contribution was to harmonize and orchestrate it. It is one segment of an extended, approximately 20-minute treatment of a traditional Church hymn, as is typical of cantatas of the Baroque period.

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