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O Haupt voll Blut und Wunden
Author: Paul Gerhardt, 1607-1676 Appears in 111 hymnals Used With Tune: [O Haupt voll Blut und Wunden]
O Haupt voll Blut und Wunden
[O Haupt voll Blut und Wunden]
Appears in 579 hymnals Composer and/or Arranger: Melchior Teschner Incipit: 15567 11321 17151 Used With Text: O Haupt voll Blut und Wunden
[O Haupt voll Blut und Wunden]
[O Haupt voll Blut und Wunden]
Appears in 513 hymnals Composer and/or Arranger: Hans Leo Haßler Incipit: 51765 45233 2121 Used With Text: O Haupt voll Blut und Wunden
[O Haupt voll Blut und Wunden]
[O Haupt voll Blut und Wunden]
Appears in 31 hymnals Composer and/or Arranger: J. Krüger Incipit: 13455 43431 22113 Used With Text: O Haupt voll Blut und Wunden
[O Haupt voll Blut und Wunden]
O Haupt Voll Blut Und Wunden
Author: Bernard von Clairvaux; Paul Gerhardt Hymnal: The Cyber Hymnal #13544 Meter: 7.6.7.6 D Lyrics: 1 O Haupt voll Blut und Wunden,
Voll Schmerz und voller Hohn,
O Haupt, zum Spott gebunden
Mit einer Dornenkron’,
O Haupt, sonst schön gezieret
Mit höchster Ehr’ und Zier,
Jetzt aber höchst schimpfieret;
Gegrüßet sei’st du mir!
2 Du edles Angesichte,
Davor sonst schrickt und scheut
Das große Weltgewichte,
Wie bist du so bespeit!
Wie bist du so erbleichet!
Wer hat dein Augenlicht,
Dem sonst kein Licht nicht gleichet,
So schändlich zugericht’t?
3 Die Farbe deiner Wangen,
Der roten Lippen Pracht
Ist hin und ganz vergangen;
Des blaßen Todes Macht
Hat alles hingenommen,
Hat alles hingerafft,
Und daher bist du kommen
Von deines Leibes Kraft.
4 Nun, was du, Herr, erduldet,
Ist alles meine Last;
Ich hab’ es selbst verschuldet,
Was du getragen hast.
Schau her, hier steh’ ich Armer,
Der Zorn verdienet hat;
Gib mir, o mein Erbarmer,
Den Anblick deiner Gnad’!
5 Erkenne mich, mein Hüter,
Mein Hirte, nimm mich an!
Von dir, Quell’ aller Güter,
Ist mir viel Gut’s getan.
Dein Mund hat mich gelabet
Mit Mich und süßer Kost;
Dein Geist hat mich begabet
Mit mancher Himmelslust.
6 Ich will hier bei dir stehen,
Verachte mich doch nicht!
Von dir will ich nicht gehen,
Wenn dir dein Herze bricht;
Wenn dein haupt wird erblaßen
Im letzten Todesstoß,
Alsdann will ich dich faßen
In meinem Arm und Schoß.
7 Es dient zu meinen Freuden
Und kommt mir herzlich wohl,
Wenn ich in deinem Leiden,
Mein Heil, mich finden soll.
Ach, möcht’ ich, o mein Leben,
An deinem Kreuze hier
Mein Leben von mir geben,
Wie wohl geschähe mir!
8 Ich danke dir von Herzen,
O Jesu, liebster Freund,
Für deines Todes Schmerzen,
Da du’s so gut gemeint.
Ach gib, daß ich mich halte
Zu dir und deiner Treu’
Und, wenn ich nun erkalte,
In dir mein Ende sei!
9 Wann ich einmal soll scheiden,
So scheide nicht von mir,
Wenn ich den Tod soll leiden,
So tritt du dann herfür;
Wenn mir am allerbängsten
Wird um das Herze sein,
So reiß mich aus den Ängsten
Kraft deiner Angst und Pein!
10 Erscheine mir zum Schilde,
Zum Trost in meinem Tod,
Und laß mich sehn dein Bilde
In deiner Kreuzesnot!
Da will ich nacht dir blicken,
Da will ich glaubensvoll
Dich fest an mein Herz drücken.
Wer so stirbt, der stirbt wohl. Languages: German Tune Title: PASSION CHORALE
O Haupt Voll Blut Und Wunden
O Haupt voll Blut und wunden
Author: Arnulf von Löwn; Paul Gerhardt Hymnal: Evangelisches Gesangbuch #85 (2014) Topics: Das Kirchenjahr Passion Languages: German Tune Title: [O Haupt voll Blut und Wunden]
O Haupt voll Blut und wunden
O Haupt voll Blut und Wunden
Author: Paul Gerhardt Hymnal: Evangeliums-Lieder 1 und 2 (Gospel Hymns) #320 (1897) Languages: German Tune Title: [O Haupt voll Blut und Wunden]
O Haupt voll Blut und Wunden
Hans Leo Hassler
1564 - 1612 Person Name: Hans Leo Haßler, 1564-1612 Composer of "[O Haupt voll Blut und Wunden]" in Glaubenslieder Hans Leo Hassler Germany 1564-1612. Born at Nuremberg, Germany, he came from a family of famous musicians and received early education from his father. He then studied in Venice, Italy, with Andrea Gabrieli, uncle of Giovanni Gabrieli, his friend, with whom he composed a wedding motet. The uncle taught him to play the organ. He learned the polychoral style and took it back to Germany after Andrea Gabrieli's death. He served as organist and composer for Octavian Fugger, the princely art patron of Augsburg (1585-1601). He was a prolific composer but found his influence limited, as he was Protestant in a still heavily Catholic region. In 1602 he became director of town music and organist in the Frauenkirche in Nuremberg until 1608. He married Cordula Claus in 1604. He was finally court musician for the Elector of Saxony in Dresden, Germany, evenually becoming Kapellmeister (1608-1612). A Lutheran, he composed both for Roman Catholic liturgy and for Lutheran churches. He produced two volumns of motets, a famous collection of court songs, and a volume of simpler hymn settings. He published both secular and religious music, managing to compose much for the Catholic church that was also usable in Lutheran settings. He was also a consultant to organ builders. In 1596 he, with 53 other organists, had the opportunity to examine a new instrument with 59 stops at the Schlosskirche, Groningen. He was recognized for his expertise in organ design and often was called on to examine new instruments. He entered the world of mechanical instrument construction, developing a clockwork organ that was later sold to Emperor Rudolf II. He died of tuberculosis in Frankfurt, Germany.
John Perry
Hans Leo Hassler
Melchior Teschner
1584 - 1635 Composer of "[O Haupt voll Blut und Wunden]" in Gesangbuch mit Noten Melchior Teschner (b. Fraustadt [now Wschowa, Poland], Silesia, 1584; d. Oberpritschen, near Fraustadt, 1635) studied philosophy, theology, and music at the University of Frankfurt an-der-Oder and later studied at the universities of Helmstedt and Wittenberg, Germany. From 1609 until 1614 he served as cantor in the Lutheran church in Fraustadt, and from 1614 until his death he was pastor of the church in Oberpritschen.
Bert Polman
Melchior Teschner
Johann Sebastian Bach
1685 - 1750 Person Name: J. S. Bach Harmonizer of "[O Haupt, voll Blut und Wunden]" in Jugendharfe Johann Sebastian Bach was born at Eisenach into a musical family and in a town steeped in Reformation history, he received early musical training from his father and older brother, and elementary education in the classical school Luther had earlier attended.
Throughout his life he made extraordinary efforts to learn from other musicians. At 15 he walked to Lüneburg to work as a chorister and study at the convent school of St. Michael. From there he walked 30 miles to Hamburg to hear Johann Reinken, and 60 miles to Celle to become familiar with French composition and performance traditions. Once he obtained a month's leave from his job to hear Buxtehude, but stayed nearly four months. He arranged compositions from Vivaldi and other Italian masters. His own compositions spanned almost every musical form then known (Opera was the notable exception).
In his own time, Bach was highly regarded as organist and teacher, his compositions being circulated as models of contrapuntal technique. Four of his children achieved careers as composers; Haydn, Mozart, Beethoven, Mendelssohn, Schumann, Brahms, and Chopin are only a few of the best known of the musicians that confessed a major debt to Bach's work in their own musical development. Mendelssohn began re-introducing Bach's music into the concert repertoire, where it has come to attract admiration and even veneration for its own sake.
After 20 years of successful work in several posts, Bach became cantor of the Thomas-schule in Leipzig, and remained there for the remaining 27 years of his life, concentrating on church music for the Lutheran service: over 200 cantatas, four passion settings, a Mass, and hundreds of chorale settings, harmonizations, preludes, and arrangements. He edited the tunes for Schemelli's Musicalisches Gesangbuch, contributing 16 original tunes. His choral harmonizations remain a staple for studies of composition and harmony. Additional melodies from his works have been adapted as hymn tunes.
--John Julian, Dictionary of Hymnology (1907)
Johann Sebastian Bach
