BWV 267



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Original source: Chorale, An Wasserflüssen Babylon / Ein Lämmlein geht trägt die Schuld, BWV 267
Chorale Text #1: An Wasserflüssen Babylon, by Wolfgang Dachstein (1525) (Heading given for Breitkopf chorale No.5)
Chorale Text #2: Ein Lämmlein geht trägt die Schuld, by Paul Gerhardt (1647) (Heading given for Breitkopf chorale No.308)
Tune: An Wasserflüssen Babylon, by Matthias Greitter (1525) (Zahn 7663)
First Performance: Unknown
Appearance in Early Collections (Key): Riemenschneider 5=309 (R5 down a m2)* (see note below); Breitkopf 5=308 (B5 down a m2)* (see note below); Dietel 144; Birnstiel 5 (down a m2); AmB 46II p.76, p.99, p.156 & p.332 (pp.99 & 156 down a m2); Levy–Mendelssohn 25; Fasch p.68 (down a m2)
Other Harmonizations: None

Notes

This chorale survives without text. The first text provided here follows the heading given for Chorale No.5 in the Breitkopf collection, and the second text follows the heading given for Chorale No.308, a duplicate appearance of the setting.
This setting appears multiple times in both the Breitkopf–Riemenschneider collection (twice) and the AmB 46II manuscript (4 times). Likely reasons for the duplication of settings in these early collections include different headings given for identical settings and settings being presented in two different keys that are otherwise identical. In the case of this setting, both are involved. The two different headings provided for this setting are "An Wasserflüssen Babylon" and "Ein Lämmlein geht trägt die Schuld." The setting also appears in the keys of G major and A–flat major. Curiously, there is no consistent correlation between headings and keys.

Dietel — A–flat major — "Wasserflüssen"
Breitkopf 5–Riemenschneider 5 — G major — "Wasserflüssen"
Breitkopf 308–Riemenschneider 309 — A–flat major — " Lämmlein"
AmB 46II p.76 — A–flat major — "Lämmlein"
AmB 46II p.99 — G major — "Wasserflüssen"
AmB 46II p.156 — G major — "Wasserflüssen"
AmB 46II p.332 — A–flat major — "Wasserflüssen"
Fasch p.68 — G major — "Wasserflüssen"

Preference is given here to the Dietel collection due to its early date and to the liklihood that Dietel copied directly from Bach’s original manuscripts. Thus, the setting is presented here in A–flat major.



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