Herr Jesu Christ, du höchstes Gut


"" is the beginning of two Lutheran hymns. One is a penitential hymn, written in 1588 by Bartholomäus Ringwaldt, who possibly also created the melody. The other is an anonymous communion hymn, probably based on the former, which appeared first in 1713. Johann Sebastian Bach's used the penitential hymn several times, including the chorale cantata Herr Jesu Christ, du höchstes Gut, BWV 113, based on the hymn.

History

Penitential hymn

Bartholomäus Ringwaldt wrote the lyrics of the penitential hymn in 1588, and possibly also created the melody. He wrote eight stanzas, beginning "".

Communion hymn

An anonymous poet, who was probably inspired by Ringwaldt's song, wrote a communion hymn of three stanzas, beginning "", taking not only the first line, but also the rhyme of the second from Ringwaldt's hymn. Its theology follows writing by Johann Arndt, who had written in Sechs Bücher vom wahren Christentum that God is good and the highest good, which can be tasted in his sacrament. The song appeared first in Chemnitz in 1713 in the hymnal Vollständiges Chemnitzer Gesangbuch. The melody refers to Ringwaldt's song.
This hymn is part of the Protestant hymnal Evangelisches Gesangbuch as EG 219.

Musical settings

Alternative melodies for both songs are the one of "" and others during the 17th and 18th century.
Bach used several stanzas of the penitential hymn. His settings are based on the Zahn No. 4486 hymn tune, that is one of the melodies composed for "". Aus der Tiefen rufe ich, Herr, zu dir, BWV 131, one of his early cantatas as a setting of Psalm 130, contains two stanzas of the hymn which are juxtaposed in the manner of a chorale fantasia wand an aria. Bach used a stanza for Tue Rechnung! Donnerwort, BWV 168, and he based Herr Jesu Christ, du höchstes Gut, BWV 113, one of his chorale cantatas, on the complete but partly rephrased hymn. The chorale cantata was first performed on 20 August 1724, the eleventh Sunday after Trinity that year. Bach composed a chorale prelude, BWV 1114, which became part of the Neumeister Chorales, rediscovered in 1985 by Christoph Wolff.