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"Komm, süßer Tod, komm selge Ruh" (Come, sweet death, come, blessed rest) is a song for solo voice and basso continuo from the 69 Sacred Songs and Arias that Johann Sebastian Bach contributed to Musicalisches Gesangbuch by Georg Christian Schemelli (BWV 478), edited by Schemelli in 1736. The text is by an anonymous author. Bach, by means of melody and harmony, expresses the desire for death and heaven. It is among his most popular works and has been adapted and transformed by several composers, such as Max Reger, Leopold Stokowski, Knut Nystedt, and for the Wanamaker Organ, by Virgil Fox. It forms the thematic material for the final movement of the second symphony of Ernst von Dohnányi. Cliff Burton based the introduction of the song "Damage, Inc." (a series of reversed bass chords) on its

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  • Komm, süßer Tod (Bach) (de)
  • Komm, süßer Tod, komm selge Ruh (en)
  • Komm, süßer Tod (nl)
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  • Komm, süßer Tod ist ein geistliches Lied für Solostimme und bezifferten Bass von Johann Sebastian Bach. Den zugrundeliegenden fünfstrophigen Text dichtete ein unbekannter Verfasser um 1724. Bach komponierte das Lied (BWV 478) für das 1736 in Leipzig erschienene Musicalische Gesang-Buch Georg Christian Schemellis. Dort hat es die Nummer 868, in der Neuen Bach-Ausgabe (NBA) die Nummer 59. (de)
  • "Komm, süßer Tod, komm selge Ruh" (Come, sweet death, come, blessed rest) is a song for solo voice and basso continuo from the 69 Sacred Songs and Arias that Johann Sebastian Bach contributed to Musicalisches Gesangbuch by Georg Christian Schemelli (BWV 478), edited by Schemelli in 1736. The text is by an anonymous author. Bach, by means of melody and harmony, expresses the desire for death and heaven. It is among his most popular works and has been adapted and transformed by several composers, such as Max Reger, Leopold Stokowski, Knut Nystedt, and for the Wanamaker Organ, by Virgil Fox. It forms the thematic material for the final movement of the second symphony of Ernst von Dohnányi. Cliff Burton based the introduction of the song "Damage, Inc." (a series of reversed bass chords) on its (en)
  • Komm, süßer Tod (BWV 478) is een geestelijk lied van de Duitse componist Johann Sebastian Bach. Het lied is geschreven voor solozang en basso continuo. Onbekend is wie de dichter is van het lied dat vijf strofen kent. De tekst wordt rond 1724 gedateerd, maar de compositie maakte Bach vermoedelijk in 1736. Het werd in elk geval in dat jaar opgenomen in het Gesang-Buch van Georg Christian Schemellis. (nl)
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  • http://commons.wikimedia.org/wiki/Special:FilePath/J._S._Bach_%22Komm,_süßer_Tod%22,_Erstdruck.jpg
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  • Komm, süßer Tod ist ein geistliches Lied für Solostimme und bezifferten Bass von Johann Sebastian Bach. Den zugrundeliegenden fünfstrophigen Text dichtete ein unbekannter Verfasser um 1724. Bach komponierte das Lied (BWV 478) für das 1736 in Leipzig erschienene Musicalische Gesang-Buch Georg Christian Schemellis. Dort hat es die Nummer 868, in der Neuen Bach-Ausgabe (NBA) die Nummer 59. (de)
  • "Komm, süßer Tod, komm selge Ruh" (Come, sweet death, come, blessed rest) is a song for solo voice and basso continuo from the 69 Sacred Songs and Arias that Johann Sebastian Bach contributed to Musicalisches Gesangbuch by Georg Christian Schemelli (BWV 478), edited by Schemelli in 1736. The text is by an anonymous author. Bach, by means of melody and harmony, expresses the desire for death and heaven. It is among his most popular works and has been adapted and transformed by several composers, such as Max Reger, Leopold Stokowski, Knut Nystedt, and for the Wanamaker Organ, by Virgil Fox. It forms the thematic material for the final movement of the second symphony of Ernst von Dohnányi. Cliff Burton based the introduction of the song "Damage, Inc." (a series of reversed bass chords) on its chorale prelude. (en)
  • Komm, süßer Tod (BWV 478) is een geestelijk lied van de Duitse componist Johann Sebastian Bach. Het lied is geschreven voor solozang en basso continuo. Onbekend is wie de dichter is van het lied dat vijf strofen kent. De tekst wordt rond 1724 gedateerd, maar de compositie maakte Bach vermoedelijk in 1736. Het werd in elk geval in dat jaar opgenomen in het Gesang-Buch van Georg Christian Schemellis. De tekst bezingt het verlangen naar de dood en naar de hereniging met Jezus. Het lied gold lange tijd als een van de populairste Bachliederen dat ook vaak werd gebruikt bij audities voor conservatoria. Het lied inspireerde ook andere componisten. Zo bewerkte Max Reger het tot een koraalvoorspel voor orgel. Er zijn ook arrangementen voor koor gemaakt (nl)
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