"Meinen Jesum laß ich nicht" is a German Lutheran hymn, with lyrics by Christian Keimann written in 1658. The theme of the hymn is trust in Jesus, based on memorial sermons for John George I, Elector of Saxony recalling conversations of the elector with his minister on his deathbed; the hymn inspired composers to vocal settings. Johann Sebastian Bach based his chorale cantata Meinen Jesum laß ich nicht, BWV 124 on the first melody by Andreas Hammerschmidt, Max Reger used a melody by Johann Ulich for a chorale cantata in 1906; the hymn appears, with Ulich's tune, in the Protestant hymnal Evangelisches Gesangbuch as EG 402, in modernized German as "Meinen Jesus lass ich nicht". Christian Keimann worked as director of a Gymnasium in Zittau, it was first published in Andreas Hammerschmidt's choral book Fest-, Buß- und Danklieder of 1659, was written shortly before. It was prompted by the death of John George I, Elector of Saxony on 8 October 1656, who had repeated the first line of the text and its main idea in conversations with his minister on his deathbed.
Weller referred to these conversations in his memorial sermons for the elector, for example on 16 October 1656 in Dresden. Keimann paraphrased excerpts from the sermons in the lyrics; the hymn is sung to melodies by Crüger and Ulich. In the first print, the hymn is set with a melody by Andreas Hammerschmidt, still used in the 18th century. Vopelius retained this version in his 1682 Neu Leipziger Gesangbuch, p. 888. Johann Sebastian Bach used the hymn with this melody several times, notably in his chorale cantata Meinen Jesum laß ich nicht, BWV 124, as a closing movement in an early version of his St Matthew Passion. Johann Crüger's melody of "Jesus, meine Zuversicht" was the common melody of the hymn until the 19th century. A third melody was composed by Johann Ulich in 1674; this melody is most common today, because it was used for the hymnal Deutsches Evangelisches Gesangbuch of 1915 and subsequent versions up to the current Protestant hymnal Evangelisches Gesangbuch, where it appears as EG 402, in the section "Glaube – Liebe – Hoffnung.
Geborgen in Gottes Liebe". Several hymns in English are sung to this hymn tune. Max Reger based his chorale cantata Meinen Jesum laß ich nicht for soprano, violin and organ and ensemble in 1906 on Ulich's melody, it was written on a commission by the Kantor of the Leipzig University for a service on Totensonntag, the last Sunday of the church year dedicated to the memory of the dead. BWV 124.6 bach-chorales.com Meinen Jesum laß' ich nicht / Text and Translation of Chorale Bach Cantatas Website Chorale Melodies used in Bach's Vocal Works / Meinen Jesum laß ich nicht Bach Cantatas Website
Paolo Riani is an Italian architect and urban planner of award-winning projects worldwide spanning a professional career of over 40 years. Riani was born in Barga, Italy, in 1937 and maintains a home and office in Viareggio, on the Tuscan coast. Son of Maria Assunta Pieroni and Albano Riani, aviator in the Italian Air Force, he grew up in Barga and in Montecatini Terme, he attended the School of Architecture in the University of Florence, where he was a disciple and collaborator of the urban planner Edoardo Detti. He graduated with a thesis in Urban planning. From 1965 to 1971 he lived and worked in Tokyo, where he collaborated in the offices of architect Kenzo Tange together with Arata Isozaki and Kisho Kurokawa, he taught Master Planning at the University of Tokyo Todai. During this period his most important projects were Caesar's Palace nightclub, Mitsubishi Estate Co. in Tokyo and the City of Kyoto Master Plan. Between 1994 and 1998 he abandoned architecture and dedicated himself to politics.
He was elected senator of the Republic of Italy in the XII Legislature and took part in numerous work commissions not only on a national scale but for the European Community, NATO and United Nations. After this period dedicated to politics, he went back to his profession as an architect and designed projects like the sustainable development plan for Massaciuccoli lake, multi-use complexes for the historic centres of Massa and Lucca, an industrial complex in Monsagrati, a residential estate in Pieve a Nievole, the Resistance Museum in Genoa and he worked on the restoration of Alta Valdera and the Comune of Peccioli. From 2000 to 2002, Riani was the Director of the Italian Cultural Institute in New York City; as of 2002, he is the Executive Director of the Italian Cultural Foundation of America, a non-profit organization founded with his wife Elizabeth. He has since gone back to his profession and in 2004 he was appointed Architecture professor at the Engineering Faculty of Pisa University and the following year was appointed an honorary member of the Academic Senate of the International Academy of Modern Art in Rome.