The original German verses[6] were written by Martin Jahn[7]. The lyrics express a close, friendly, and familiar friendship with Jesus, who gives life to the poet.

Wohl mir, daß ich Jesum habe,
o wie feste halt’ ich ihn,
daß er mir mein Herze labe,
wenn ich krank und traurig bin.
Jesum hab’ ich, der mich liebet
und sich mir zu eigen giebet,
ach drum laß’ ich Jesum nicht,
wenn mir gleich mein Herze bricht.

—from BWV 147, Chorale movement no. 6
Jesus bleibet meine Freude,
meines Herzens Trost und Saft,
Jesus wehret allem Leide,
er ist meines Lebens Kraft,
meiner Augen Lust und Sonne,
meiner Seele Schatz und Wonne;
darum laß’ ich Jesum nicht
aus dem Herzen und Gesicht.

—from BWV 147, Chorale movement no. 10
原著歷史
Herz und Mund und Tat und Leben (Heart and Mouth and Deed and Life), BWV 147, is a cantata by Johann Sebastian Bach. It was written originally in Weimar in 1716 (BWV 147a) for Advent and expanded in 1723 for the feast of the Visitation in Leipzig, where it was first performed on 2 July 1723.[1]
MusicThe opening chorus renders the complete words in three section, the third one a reprise of the first one and even the middle section not different in character. An instrumental sinfonia is heard in the beginning and in the end as well as, slightly changed, in all three sections with the choir woven into it. In great contrast all three sections conclude with a part accompanied only by basso continuo. Sections one and three begin with a fugue with colla parte instruments. The fugue subject stresses the word Leben (life) by a melisma extended over three measures. The soprano starts the theme, the alto enters just one measure later, tenor after two more measures, bass one measure later, the fast succession resulting in a lively music as a good image of life. In section three the pattern of entrances is the same, but building from the lowest voice to the highest.

The three recitatives are scored differently, the first accompanied by chords of the strings, the second by continuo, the third as an accompagnato of two oboes da caccia which add a continuos expressive motive, interrupted only when the child’s leaping in the womb (in German: Hüpfen) is mentioned which they illustrate.

The three arias of the original cantata are scored for voice and solo instruments (3., 5.) or only continuo, whereas the last aria, speaking of the miracles of Jesus, is accompanied by the full orchestra.

The chorale movements 6 and 10, ending the two parts of the cantata, are the same music based on a melody by Johann Schop, Werde munter, mein Gemüthe, a melody which Bach also used in his St Matthew Passion on the words Bin ich gleich von dir gewichen (#40). The simple four-part choral part is embedded in a setting of the full orchestra dominated by a motive in pastoral triplets derived from the first line of the chorale melody.[1]

Jesu, Joy of Man’s Desiring
The music of the chorale movements is now best known for the piano transcription by Dame Myra Hess of Hugh P. Allen’s choral version of Bach’s arrangement, and is notable under the title Jesu, Joy of Man’s Desiring which approximately relates to “Jesus bleibet meine Freude”, more closely translated as “Jesus shall remain my gladness”.[2]

(Wikipedia)

Lyrics
My heart at thy dear voice
Wakes with joy, like the flow’r
At the sun’s bright returning!
But O, my dearest one,
That grief may lose its pow’r,
Say ’tis mine, thy heart’s yearning!
Oh, bide here at my side!
Promise ne’er thou’lt depart!
Once more those vows so loving
Let me hear from thy heart!
Breathe that mine still thou art!
|: Ah! respond to Love’s caresses,
Join in all my soul expresses! :|
Samson! Samson! I love you!

As winds o’er golden grain
Softly sigh roving by,
Till ’tis swaying like the ocean,
So sways my burning heart
With rapture when tou’re nigh!
And thy voice speaks thy devotion!
The dart is not so swift,
Bearing fear in its flight,
As I speed to be held
In thine arms of delight!
|: Ah! respond to Love’s caresses,
Join in all my soul expresses! :|
Samson! Samson! I love you!

Samuel Crossman, 1664

My song is love unknown, my Savior’s love to me,
love to the loveless shown, that they might lovely be.
But who am I that for my sake
my Lord should take frail flesh and die?
He came from heaven’s throne, salvation to bestow;
but they refused and none the longed-for Christ would know.
This is my friend, my friend indeed,
who at my need his life did spend.
Sometimes they crowd his way and his sweet praises sing,
resounding all the day hosannas to their king.
Then “crucify” is all their breath,
and for his death they thirst and cry.
With angry shouts they have my dear Lord done away;
a murderer they save, the Prince of Life they slay!
Yet willingly he bears the shame
that through his name all might be free.
Why, what has my Lord done to cause such rage and spite?
He made the lame to run and gave the blind their sight.
What injuries! Yet these are why
the Lord most high so cruelly dies.
Here might I stay and sing of him my soul adores.
Never was love, dear King, never was grief like yours!
This is my friend in whose sweet praise
I all my days could gladly spend.

Text: Afro-American spiritual (Acts 2:42)
都恆心遵守使徒的教訓，彼此交接，擘餅，祈禱。(徒2:42)
Music: Afro-American spiritual; adapt. and arr. by William Farley Smith, 1986

1. Let us break bread together on our knees, (on our knees)
let us break bread together on our knees. (on our knees)
When I fall on my knees with my face to the rising sun,
O Lord, have mercy on me. (on me)

2. Let us drink wine together on our knees, (on our knees)
let us drink wine together on our knees. (on our knees)
When I fall on my knees with my face to the rising sun,
O Lord, have mercy on me. (on me)

3. Let us praise God together on our knees, (on our knees)
let us praise God together on our knees. (on our knees)
When I fall on my knees with my face to the rising sun,
O Lord, have mercy on me. (on me)

4. Let us praise God together on our knees, (on our knees)
let us praise God together on our knees. (on our knees)
When I fall on my knees with my face to the rising sun,
O Lord, have mercy if you please. (if you please)

This was recorded by PR jnr. in 1955 when Robeson was banned from commercial studios, in Helen and Sam Rosen’s apartment in NY. Judith Rosen is the accompaniest An informal session.

Second part of Felix Mendelssohn’s “Hear My Prayer.”  (AKA “O For the Wings of a Dove”)

First part of Felix Mendelssohn’s “Hear My Prayer.”

歌詞：

African-American Spiritual

Were you there when they crucified my Lord?
Were you there when they crucified my Lord?
Oh!  Sometimes it causes me to tremble, tremble, tremble.
Were you there when they crucified my Lord?

Were you there when they nailed Him to the tree?
Were you there when they nailed Him to the tree?
Oh!  Sometimes it causes me to tremble, tremble, tremble.
Were you there when they nailed Him to the tree?

Were you there when they laid Him in the tomb?
Were you there when they laid Him in the tomb?
Oh!  Sometimes it causes me to tremble, tremble, tremble.
Were you there when they laid Him in the tomb?

 

 

 

Words and music by William J. Gaither
© 1971

Matthew 28:6
“He is not here: for he is risen, as he said.
Come, see the place where the Lord lay.”

God sent His son, they called Him, Jesus;
He came to love, heal and forgive;
He lived and died to buy my pardon,
An empty grave is there to prove my Savior lives!

         Chorus
           Because He lives, I can face tomorrow,
           Because He lives, all fear is gone;
           Because I know He holds the future,
           And life is worth the living,
           Just because He lives!
How sweet to hold a newborn baby,
And feel the pride and joy he gives;
But greater still the calm assurance:
This child can face uncertain days because He Lives!

          Chorus
         Because He lives, I can face tomorrow,
         Because He lives, all fear is gone;
         Because I know He holds the future,
         And life is worth the living,
         Just because He lives!
And then one day, I’ll cross the river,
I’ll fight life’s final war with pain;
And then, as death gives way to vict’ry,
I’ll see the lights of glory and I’ll know He lives!

         Chorus
        Because He lives, I can face tomorrow,
        Because He lives, all fear is gone;
        Because I know He holds the future,
        And life is worth the living,
        Just because He lives!

因祂活著

神子耶穌，降生到世界，醫治拯救世上罪人；

為贖我罪主釘死十架，空的墳墓卻證明救主仍活著。

新生嬰孩，被抱在懷裡，何等安祥令你欣喜；

但你確信這幼小生命，卻能面對著明天因救主活著。

當我走完，人生的路程，面對死亡痛苦爭戰；

救主為我戰勝了死權，在榮光中我見救主祂是活著。

副  歌

因祂活著，我能面對明天，

因祂活著，不再懼怕；

我深知道祂掌握明天，

生命充滿了希望，只因祂活著。