Bach cantata

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Bach's autograph of an aria in the cantata Herr, gehe nicht ins Gericht mit deinem Knecht, BWV 105 Bwv105-wie-zittern.png
Bach's autograph of an aria in the cantata Herr, gehe nicht ins Gericht mit deinem Knecht, BWV 105

The cantatas composed by Johann Sebastian Bach, known as Bach cantatas (German: Bachkantaten), are a body of work consisting of over 200 surviving independent works, and at least several dozen that are considered lost. As far as known, Bach's earliest cantatas date from 1707, the year he moved to Mühlhausen, although he may have begun composing them at his previous post in Arnstadt. Most of Bach's church cantatas date from his first years as Thomaskantor and director of church music in Leipzig, a position which he took up in 1723.

Contents

Working for Leipzig's Thomaskirche and Nikolaikirche , it was part of Bach's job to perform a church cantata every Sunday and holiday, conducting soloists, the Thomanerchor and orchestra as part of the church service. In his first years in Leipzig, starting after Trinity of 1723, Bach regularly composed a new cantata every week, although some of these cantatas were adapted (at least in part) from work he had composed before his Leipzig era. [1] Works from three annual cycles of cantatas for the liturgical calendar have survived. These relate to the readings prescribed by the Lutheran liturgy for the specific occasion. He probably composed his last cantata in 1745.[ citation needed ]

In addition to the church cantatas composed for occasions of the liturgical year, Bach wrote sacred cantatas for functions like weddings or Ratswahl (the inauguration of a new town council). His secular cantatas, around 50 known works, less than half of which surviving with both text and music, were written for academic functions of the University of Leipzig, or anniversaries and entertainment among the nobility and in society, some of them Glückwunschkantaten (congratulatory cantatas) and Huldigungskantaten (homage cantatas).

Bach's cantatas usually require four soloists and a four-part choir, but he also wrote solo cantatas (i.e. for one soloist singer) and dialogue cantatas for two singers. The words of Bach's cantatas, almost always entirely in German, consist mostly of 18th-century poetry, Lutheran hymns and dicta. Hymns were mostly set to their Lutheran chorale tune. His chorale cantata cycle contains at least 40 chorale cantatas, each of these entirely based on text and tune of such hymn.

Titles of the cantatas

Although the German term Bachkantate (Bach cantata) became very familiar, Bach himself rarely used the title Cantata in his manuscripts. In Ich will den Kreuzstab gerne tragen, BWV 56 , he wrote Cantata à Voce Sola e Stromenti (Cantata for solo voice and instruments). Another cantata in which Bach used that term is Ich bin vergnügt mit meinem Glücke, BWV 84 . Typically, he began a heading with the abbreviation J.J. (Jesu juva, "Jesus, help"), followed by the name of the celebration, the beginning of the words and the instrumentation, for example in Gloria in excelsis Deo, BWV 191 . Bach often signed his cantatas with SDG, short for Soli Deo Gloria ("glory to the only God" / "glory to God alone"). [2]

Bach often wrote a title page for the autograph score and copies of the original parts. For example, he titled the parts of Aus tiefer Not schrei ich zu dir, BWV 38, using a mix of languages to describe the occasion, the incipit, the precise scoring and his name: "Dominica 21. post Trinit / Aus tieffer Noth schrey ich zu dir. / â / 4. Voc. / 2. Hautbois. / 2. Violini. / Viola. / 4. Tromboni / e / Continuo. / di / Signore / J.S.Bach". [3] The occasion for which the piece was performed is given first, in Latin: "Dominica 21. post Trinit" (21st Sunday after Trinity Sunday, with Trinit short for Trinitatem). The title follows, given in German in the orthography of Bach's time. The scoring and finally his name appear in a mix of French and Italian, the common languages among musicians at the time, partly abbreviated.

BWV number

Bach wrote more than 200 cantatas, of which many have survived. In the Bach-Werke-Verzeichnis (BWV), Wolfgang Schmieder assigned them each a number within groups: 1200 (sacred cantatas), 201216 (secular cantatas), and 217224 (cantatas of doubtful authorship). Since Schmieder's designation, several of the cantatas he thought authentic have been redesignated as "spurious." However, the spurious cantatas retain their BWV numbers. The List of Bach cantatas is organized by BWV number but sortable by other criteria.

Structure of a Bach cantata

A typical Bach cantata of his first year in Leipzig follows the scheme:

  1. Opening chorus
  2. Recitative
  3. Aria
  4. Recitative (or Arioso)
  5. Aria
  6. Chorale

The opening chorus (Eingangschor) is usually a polyphonic setting, with the orchestra presenting the themes or contrasting material first. Most arias follow the form of a da capo aria, repeating the first part after a middle section. The final chorale is typically a homophonic setting of a traditional melody.

Bach used an expanded structure to take up his position in Leipzig with the cantatas Die Elenden sollen essen, BWV 75 , and Die Himmel erzählen die Ehre Gottes, BWV 76 , both in two parts, to be performed before and after the sermon (post orationem) and during communion (sub communione). Each part is a sequence of an opening movement, five movements with alternating recitatives and arias, and a chorale. In an exemplary way both cantatas cover the prescribed readings: starting with a related psalm from the Old Testament, Part I reflects the Gospel and Part II the Epistle. [4]

Bach did not follow any strict scheme but composed as he wanted to express the words. A few cantatas are opened by an instrumental piece before the first chorus, such as the Sinfonia of Wir danken dir, Gott, wir danken dir, BWV 29 . A solo movement begins Gott, man lobet dich in der Stille, BWV 120 , because its first words speak of silence. Many cantatas composed in Weimar are set like chamber music, mostly for soloists, with a four-part setting only in the closing chorale, which may have been sung by the soloists. In an early cantata, Erschallet, ihr Lieder, erklinget, ihr Saiten! BWV 172 , Bach marked a repeat of the opening chorus after the chorale.

The chorale can be as simple as a traditional four-part setting, or be accompanied by an obbligato instrument, or be accompanied by the instruments of the opening chorus or even expanded by interludes based on its themes, or have the homophonic vocal parts embedded in an instrumental concerto as in the familiar Herz und Mund und Tat und Leben, BWV 147 , or have complex vocal parts embedded in the concerto as in Ärgre dich, o Seele, nicht, BWV 186 , in a form called Choralphantasie (chorale fantasia). In Nun komm, der Heiden Heiland, BWV 61 , for the first Sunday in Advent, the beginning of a new liturgical year, he rendered the opening chorus as a French overture.

Singers and instrumentation

Schlosskirche in Weimar (c. 1660, burned 1774) where Bach composed and performed church cantatas monthly from 1714 to 1717 Schlosskirche Weimar 1660.jpg
Schlosskirche in Weimar (c. 1660, burned 1774) where Bach composed and performed church cantatas monthly from 1714 to 1717
Thomaskirche in 1885, one of the two Leipzig churches where Bach composed and performed church cantatas almost weekly from 1723 to 1726 Thomaskirche-1885.png
Thomaskirche in 1885, one of the two Leipzig churches where Bach composed and performed church cantatas almost weekly from 1723 to 1726

Vocal

Typically Bach employs soprano, alto, tenor and bass soloists and a four-part choir, also SATB. He sometimes assigns the voice parts to the dramatic situation, for example soprano for innocence or alto for motherly feelings. The bass is often the vox Christi, the voice of Jesus, when Jesus is quoted directly, as in Es wartet alles auf dich, BWV 187 , or indirectly, as in O Ewigkeit, du Donnerwort, BWV 60 .

In the absence of clear documentary evidence, there are different options as to how many singers to deploy per part in choral sections. This is reflected in the recordings discussed below. Ton Koopman, for example, is a conductor who has recorded a complete set of the cantatas and who favours a choir with four singers per part. On the other hand, some modern performances and recordings use one voice per part. Joshua Rifkin is well known is an advocate of this approach, although it has yet to be followed through in a complete set of cantatas. Nonetheless Bach would have had more singers available at Leipzig, for example, while the space in the court chapel in Weimar was limited. One size of choir probably does not fit all the cantatas.

Instrumental

The orchestra that Bach used is based on string instruments (violin, viola) and basso continuo, typically played by cello, double bass (an octave lower) and organ. A continuo bass is the rule in Baroque music; its absence is noteworthy and often has a special reason, such as describing fragility.[ example needed ]

The specific character of a cantata or a single movement is rather defined by wind instruments, such as oboe, oboe da caccia, oboe d'amore, flauto traverso, recorder, trumpet, horn, trombone, and timpani. In movements with winds, a bassoon usually joins the continuo group.

Festive occasions call for richer instrumentation. Some instruments also carry symbolic meaning, such as a trumpet, the royal instrument of the Baroque, for divine majesty and three trumpets for the Trinity. In an aria of BWV 172, addressing the Heiligste Dreifaltigkeit (Most holy Trinity), the bass is accompanied only by three trumpets and timpani.

In many arias Bach uses obbligato instruments, which accompany the singer as an equal partner. These instrumental parts are frequently set in virtuoso repetitive patterns called figuration. Instruments include, in addition to the ones mentioned, organ, flauto piccolo (sopranino recorder), violino piccolo, viola d'amore, violoncello piccolo (a smaller cello), tromba da tirarsi (slide trumpet) and corno da tirarsi.

In his early compositions Bach also used instruments that had become old-fashioned, such as viola da gamba and violone. Alto recorders (flauti dolci) are sometimes used in connection with death and mourning as in Gottes Zeit ist die allerbeste Zeit, BWV 106 .

Solo cantata

Some cantatas are composed for a solo singer (Solokantate), as Jauchzet Gott in allen Landen, BWV 51 , for soprano, sometimes concluded by a chorale, as in Ich will den Kreuzstab gerne tragen, BWV 56 , for bass.

Dialogue cantata

Some cantatas are structured as a dialogue, mostly for Jesus and the Soul (bass and soprano), set like miniature operas. Bach titled them for example Concerto in Dialogo, concerto in dialogue. An early example is Tritt auf die Glaubensbahn, BWV 152 (1714). He composed four such works in his third annual cycle, Selig ist der Mann, BWV 57 (1725), Liebster Jesu, mein Verlangen, BWV 32 , Ich geh und suche mit Verlangen, BWV 49 (both 1726), and Ach Gott, wie manches Herzeleid, BWV 58 (1727). [5]

Text of Bach's sacred cantatas

Within the Lutheran liturgy, certain readings from the Bible were prescribed for every event during the church year; specifically, it was expected that an Epistel from an Epistle and Evangelium from a Gospel would be read. Music was expected for all Sundays and holidays except the quiet times ( tempus clausum ) of Advent and Lent; the cantatas were supposed to reflect the readings. Many opening movements are based on quotations from the Bible, such as Sie werden aus Saba alle kommen, BWV 65 , from Isaiah 60:6. Ideally, a cantata text started with an Old Testament quotation related to the readings, and reflected both the Epistle and the Gospel, as in the exemplary Die Himmel erzählen die Ehre Gottes, BWV 76 . Most of the solo movements are based on poetry of contemporary writers, such as court poet Salomon Franck in Weimar or Georg Christian Lehms or Picander in Leipzig, with whom Bach collaborated. The final words were usually a stanza from a chorale. Bach's Chorale cantatas are based exclusively on one chorale, for example the early Christ lag in Todes Banden, BWV 4 , and most cantatas of his second annual cycle in Leipzig.

Periods of cantata composition

The following lists of works (some marked as questioned) rely mainly on Alfred Dürr's Die Kantaten von Johann Sebastian Bach. Usually the cantatas appear in the year of their first performance, sometimes also for later performances and then in brackets.

Mühlhausen

Bach moved to Mühlhausen in 1707 when he was 22 to take up an appointment as the organist of St. Blasius church (Divi Blasii). There is evidence suggesting that he composed a cantata as an audition piece for Mühlhausen, and this may have been Christ lag in Todes Banden, BWV 4 . One or two more surviving cantatas may have been composed while Bach was at his previous post in Arnstadt, for example, Nach dir, Herr, verlanget mich, BWV 150 .

A couple of the surviving cantatas can be firmly dated to his time in Mühlhausen. For example, Gott ist mein König, BWV 71 , was composed for the inauguration of the town council in 1708. By Bach's own account, Aus der Tiefen rufe ich, Herr, zu dir, BWV 131 , was also composed at Mühlhausen. Other cantatas are assumed to date from this period:

Weimar

Bach worked in Weimar from 1708. He composed a secular cantata, Was mir behagt, ist nur die muntre Jagd, BWV 208, in 1713. The composition of cantatas for the Schlosskirche (court chapel) on a regular monthly basis started with his promotion to Konzertmeister in March 1714. [6] His goal was to compose a complete set of cantatas for the liturgical year within four years. The cantatas 54 and 199 were performed within the cycle but possibly composed earlier.

Köthen

Bach worked in Köthen from 1717 to 1723, where he composed for example the Brandenburg Concertos . He had no responsibility for church music, but his employer Prince Leopold did commission secular cantatas. Later in Leipzig, he derived several church cantatas from congratulatory cantatas, such as Erfreut euch, ihr Herzen, BWV 66 , for Easter from the birthday cantata Der Himmel dacht auf Anhalts Ruhm und Glück, BWV 66a . [7] [8]

Even after he moved to Leipzig he retained his title of Fürstlich Köthenischer Kapellmeister (that is director of music to the court at Köthen). He continued to compose for the court until Leopold's funeral in 1729. There is evidence that he reused musical material from works that he premiered in Leipzig in the 1720s, for example the secular cantata Schwingt freudig euch empor, BWV 36.1 , believed to be have been composed to honour one of the Bach's academic colleagues in Leipzig, was the basis of a secular cantata with a text in honour of Leopold's second wife. [9]

Leipzig

In Leipzig Bach was responsible for the town's church music in the Thomaskirche and Nikolaikirche and was head of the Thomasschule . Church cantata performances alternated in the two churches for ordinary Sundays and took place in both churches on high holidays such as Christmas, then one in the morning, one in the afternoon, and again alternating for the three days such an occasion was celebrated. Academic functions took place at the Universitätskirche St. Pauli . There is debate whether Bach performed Wer mich liebet, der wird mein Wort halten, BWV 59 , there a week before he began his cantorate. Bach started it on the first Sunday after Trinity of 1723 and wrote a first annual cycle. Bach's major works such as the Passions and the Mass in B minor are inserted in the listing for comparison.

First cantata cycle

Second cantata cycle

After Trinity of 1724 he started a second annual cycle of mainly chorale cantatas. The chorale was typically the chorale prescribed for that week (Hauptlied or Wochenlied). These cantatas were performed even after his death, according to Christoph Wolff probably because the well-known hymns were appealing to the audience. [10]

The new cantatas Bach composed for Easter of 1725 and afterwards were not chorale cantatas:

Two of these, BWV 128 and BWV 68, both starting with a chorale fantasia, are sometimes seen as included in the chorale cantata cycle.

Other cantatas by Bach that are usually seen as belonging to the chorale cantata cycle:

  • BWV 4 (version as performed again at Easter 1725, somewhat different from the early Mühlhausen version) * 137 (1725) * 58 (1727) * 129 (1727) * 80 (1727 or later, although an early version of this cantata, BWV 80b, may have been composed for or performed on Reformation Day in 1724) * 112 (1731) * 140 (1731) * 177 (1732) * 9 (1732) * 14 (1735)

For four further chorale cantatas it is unclear for which occasion they were composed, and whether they were intended to be added to the cycle:

Third to fifth year in Leipzig

After Trinity of 1725 Bach began a third annual cycle, but with less consistency. The first cantata is written for the ninth Sunday after Trinity, but the following year he added a substantial work for the first Sunday after Trinity. The cycle extends over several years, although the cantatas from 1727 have been termed as "between the third and fourth cycles". [11] Cantatas for some occasions are not extant.

Between Trinity and Advent 1725 (apart from chorale cantatas):
Liturgical year from Advent 1725 to the last Sunday after Trinity 1726 (includes 18 cantatas by Johann Ludwig Bach (JLB)):
Church cantatas of 1727 (apart from chorale cantatas):
Other:

Picander cycle of 1728–29

There is some circumstantial evidence that a complete fourth cycle of Bach cantatas, in scholarship indicated as the Picander cycle, may have existed. [11] [29] [30]

Extant cantatas of the fourth cycle:

Other cantatas and church music

Not belonging to the foregoing:

Parodies

Bach sometimes reused an earlier composition, typically revising and improving it in a process called parody. For example, a movement from a partita for violin, in ceaseless motion, was arranged as an orchestral sinfonia with the organ as solo instrument for the wedding cantata 120a and again in Cantata 29, for which the organ was accompanied by a full orchestra dominated by trumpets. Not only a single movement but a complete cantata was reworked from the Shepherd cantata Entfliehet, verschwindet, entweichet, ihr Sorgen, BWV 249a , to become the Easter Oratorio . Bach used parody to be able to deliver cantatas for Christmas, Easter and Pentecost, which were each celebrated for a period of three days. His Easter cantata Ein Herz, das seinen Jesum lebend weiß, BWV 134 , is a parody of six of eight movements of the cantata for New Year's Day, Die Zeit, die Tag und Jahre macht, BWV 134a . Six movements of his congratulatory cantata Durchlauchtster Leopold, BWV 173a , form the cantata for Pentecost Monday of 1724, Erhöhtes Fleisch und Blut, BWV 173 , while a seventh movement was made part of the cantata for Pentecost Tuesday of 1725, Er rufet seinen Schafen mit Namen, BWV 175 .

Bach's four short masses are parodies of cantata movements; he used several movements of Siehe zu, daß deine Gottesfurcht nicht Heuchelei sei, BWV 179 , for two of them. When he compiled his Mass in B minor, he again used many cantata movements, such as a part of Weinen, Klagen, Sorgen, Zagen, BWV 12 , for the Crucifixus of the Credo .

Oratorios

Bach's oratorios can be considered as expanded cantatas. They were also meant to be performed during church services. Distinct from the cantatas, a narrator, the Evangelist, tells a story in the exact Bible wording, while soloists and the choir have "roles" such as Mary or "the shepherds", in addition to reflective chorales or arias commenting on the story. The St Matthew Passion and the St John Passion were intended to be performed on Good Friday, before and after the sermon. The six parts of the Christmas Oratorio were intended to be performed on six feast days of the Christmas season, each part composed as a cantata with an opening chorus (except in Part 2) and a closing chorale.

Performances by Bach

Bach composed the cantatas and performed them, conducting from the keyboard. The choir was the Thomanerchor, which also served the other main churches of Leipzig for which Bach was responsible. Cantatas, under his personal direction, were performed in the Nikolaikirche and in the Thomaskirche, alternating on ordinary Sundays. On high feast days, the same cantata was performed in the morning in one of these churches, in a vespers service in the other. [31]

Later performances and recordings

After Bach's death the cantatas fell into obscurity even more than his oratorios. There is some evidence for the chorale cantatas being performed at Leipzig after Bach's death, but the cantatas were little known until a society called the Bach-Gesellschaft began to publish the composer's complete works starting in 1851. Only one of the cantatas, Gott ist mein König, BWV 71 , had been published during Bach's lifetime. The cantata Wie schön leuchtet der Morgenstern, BWV1 , was selected as the first work to appear in the Bach-Gesellschaft-Ausgabe, the first complete edition. [32]

In 1928, The New York Times reported the presentation in Paris of two secular Bach cantatas by opera soprano Marguerite Bériza and her company in staged productions, The Peasant Cantata and The Coffee Cantata . [33] In 1931 a recording was made of a performance of Christ lag in Todes Banden , in Barcelona.

The number of performances and recordings increased in the decades after the Second World War. In the early 1950s Fritz Lehmann recorded several cantatas with the Berliner Motettenchor and the Berlin Philharmonic. From 1953, Max Thurn conducted for the broadcaster NDR a series of Bach cantatas, with members of the NDR Chor and members of the NDR Sinfonieorchester. [34] [35] Karl Richter called his choir programmatically Münchener Bach-Chor in 1954 and recorded about a third of the cantatas.

Between 1958 and 1987, the London Bach Society, conducted by Paul Steinitz performed all the extant church and secular cantatas, 208 separate works, in various venues, mostly in the Church of St Bartholomew-the-Great, London. Diethard Hellmann called the Kantorei (chorale) of the Christuskirche Bachchor Mainz in 1965 and produced more than 100 cantatas on a weekly basis with the Südwestrundfunk. Fritz Werner started recording with the Heinrich-Schütz-Chor Heilbronn and the Pforzheim Chamber Orchestra a series that they called Les Grandes Cantates de J.S. Bach.

The Thomanerchor has sung a weekly cantata during the evening service Motette on Saturday. [36] The cantatas are also regularly performed on Sundays at Holy Trinity Lutheran Church, New York City, under the direction of the Cantor (currently Donald R. Meineke). [37]

Complete recordings

While individual cantatas were recorded as early as the 1930s, a complete set was not attempted until the 1970s when Nikolaus Harnoncourt and Gustav Leonhardt began recording the Teldec set. This 20-year collaboration used historical instruments, with boys' choirs and boy soloists for most soprano and a few alto parts. Harnoncourt conducted the Wiener Sängerknaben or the Tölzer Knabenchor and the Concentus Musicus Wien. Leonhardt conducted the Tölzer Knabenchor, Knabenchor Hannover and the Collegium Vocale Gent, and the ensemble Leonhardt-Consort. Helmuth Rilling, Gächinger Kantorei, and the Bach-Collegium Stuttgart completed a recording of the sacred cantatas and oratorios on Bach's 300th birthday, 21 March 1985. Ton Koopman and the Amsterdam Baroque Orchestra & Choir recorded all vocal works of Bach in 10 years starting in 1994, including the cantatas. [38] Sir John Eliot Gardiner and his Monteverdi Choir undertook the Bach Cantata Pilgrimage, performing and recording in the year 2000 the sacred cantatas at churches all over Europe and in the United States. Sigiswald Kuijken has recorded Cantatas for the Complete Liturgical Year with La Petite Bande and the soloists forming the choir. Masaaki Suzuki commenced in 1995 a project to record the complete sacred cantatas with his Bach Collegium Japan for the Swedish label BIS; he completed the process in 2013. [39] Pieter Jan Leusink recorded the complete cantatas in 15 months in 1999 and 2000 with the Holland Boys Choir and Netherlands Bach Collegium for Brilliant Classics.

The Fifth Gospel

In 1929 the Swedish bishop Nathan Söderblom, a recipient of the Nobel Peace Prize, called Bach's cantatas the Fifth Gospel. [40] [41]

Bach cantatas listed in the first chapter of the Bach-Werke-Verzeichnis (1998)

Legend to the table
columncontent
01BWV Bach-Werke-Verzeichnis (lit.'Bach-works-catalogue'; BWV) numbers. Anhang (Annex; Anh.) numbers are indicated as follows:
  • preceded by I: in Anh. I (lost works) of BWV1 (1950 first edition of the BWV)
  • preceded by II: in Anh. II (doubtful works) of BWV1
  • preceded by III: in Anh. III (spurious works) of BWV1
  • preceded by N: new Anh. numbers in BWV2 (1990) and/or BWV2a (1998)
022aSection in which the composition appears in BWV2a:
  • Chapters of the main catalogue indicated by Arabic numerals (1-13)
  • Anh. sections indicated by Roman numerals (I–III)
  • Reconstructions published in the NBE indicated by "R"
03DateDate associated with the completion of the listed version of the composition. Exact dates (e.g. for most cantatas) usually indicate the assumed date of first (public) performance. When the date is followed by an abbreviation in brackets (e.g. JSB for Johann Sebastian Bach) it indicates the date of that person's involvement with the composition as composer, scribe or publisher.
04NameName of the composition: if the composition is known by a German incipit, that German name is preceded by the composition type (e.g. cantata, chorale prelude, motet, ...)
05Key Key of the composition
06ScoringSee scoring table below for the abbreviations used in this column
07BG Bach Gesellschaft-Ausgabe (BG edition; BGA): numbers before the colon indicate the volume in that edition. After the colon an Arabic numeral indicates the page number where the score of the composition begins, while a Roman numeral indicates a description of the composition in the Vorwort (Preface) of the volume. [42]
08NBE New Bach Edition (German: Neue Bach-Ausgabe, NBA): Roman numerals for the series, followed by a slash, and the volume number in Arabic numerals. A page number, after a colon, refers to the "Score" part of the volume. Without such page number, the composition is only described in the "Critical Commentary" part of the volume. The volumes group Bach's compositions by genre: [43]
  1. Cantatas (Vol. 1–34: church cantatas grouped by occasion; Vol. 35–40: secular cantatas; Vol. 41: Varia)
  2. Masses, Passions, Oratorios (12 volumes)
  3. Motets, Chorales, Lieder (4 volumes)
  4. Organ Works (11 volumes)
  5. Keyboard and Lute Works (14 volumes)
  6. Chamber Music (5 volumes)
  7. Orchestral Works (7 volumes)
  8. Canons, Musical Offering, Art of Fugue (3 volumes)
  9. Addenda (approximately 7 volumes)
09Additional infomay include:
  • "after" – indicating a model for the composition
  • "by" – indicating the composer of the composition (if different from Johann Sebastian Bach)
  • "in" – indicating the oldest known source for the composition
  • " pasticcio " – indicating a composition with parts of different origin
  • "see" – composition renumbered in a later edition of the BWV
  • "text" – by text author, or, in source

Provenance of standard texts and tunes, such as Lutheran hymns and their chorale melodies, Latin liturgical texts (e.g. Magnificat) and common tunes (e.g. Folia), are not usually indicated in this column. For an overview of such resources used by Bach, see individual composition articles, and overviews in, e.g., Chorale cantata (Bach)#Bach's chorale cantatas, List of chorale harmonisations by Johann Sebastian Bach#Chorale harmonisations in various collections and List of organ compositions by Johann Sebastian Bach#Chorale Preludes.

10BD Bach Digital Work page
Legend for abbreviations in "Scoring" column
Voices (see also SATB)
aAbBsStTvV
alto (solo part)alto (choir part) bass (solo part)bass (choir part) soprano (solo part)soprano (choir part) tenor (solo part)tenor (choir part)voice (includes parts for unspecified voices or instruments as in some canons) vocal music for unspecified voice type
Winds and battery (bold = soloist)
BasBelCntFlHnObObaOdcTaiTbnTdtTmpTr
bassoon (can be part of Bc, see below) bell(s) (musical bells) cornett, cornettino flute (traverso, flauto dolce, piccolo, flauto basso) natural horn, corno da caccia, corno da tirarsi, lituo oboe oboe d'amore oboe da caccia taille trombone tromba da tirarsi timpani tromba (natural trumpet, clarino trumpet)
Strings and keyboard (bold = soloist)
BcHcKbLuLwOrgStrVaVcVdgVlVne
basso continuo: Vdg, Hc, Vc, Bas, Org, Vne and/or Lu harpsichord keyboard (Hc, Lw, Org or clavichord) lute, theorbo Lautenwerck (lute-harpsichord) organ (/man. = manualiter, without pedals)strings: Vl I, Vl II and Va viola(s), viola d'amore, violetta violoncello, violoncello piccolo viola da gamba violin(s), violino piccolo violone, violone grosso
Background colours
ColourMeaning
greenextant or clearly documented partial or complete manuscript (copy) by Bach and/or first edition under Bach's supervision
yellowextant or clearly documented manuscript (copy) or print edition, in whole or in part, by close relative, i.e. brother (J. Christoph), wife (A. M.), son (W. F. / C. P. E. / J. C. F. / J. Christian) or son-in-law (Altnickol)
orange-brownextant or clearly documented manuscript (copy) by close friend and/or pupil (Kellner, Krebs, Kirnberger, Walther, ...), or distant family member
Bach cantatas in Chapter 1 of BWV2a
BWV2aDateNameKeyScoringBGNBEAdditional infoBD
11.1725-03-25 Cantata Wie schön leuchtet der Morgenstern (Annunciation)F maj.stbSATB 2Hn 2Odc 2Vl Str Bc 1: 1 I/28.2: 3after Z 8359; text after Nicolai 00001
21.1724-06-18 Cantata Ach Gott, vom Himmel sieh darein (Trinity II)G min.atbSATB 4Tbn 2Ob Str Bc 1: 53 I/16: 81after Z 4431; text after Luther 00002
2/6chorale setting "Ach Gott, vom Himmel sieh darein" (s. 6) G Dor. SATB 1: 72 III/2.1: 25
III/2.2: 156
after Z 4431; text by Luther 11189
31.1725-01-14 Cantata Ach Gott, wie manches Herzeleid (Epiphany II)A maj.satbSATB Hn Tbn 2Oba Str Bc 1: 73 I/5: 189after Z 533a; text after Moller 00003
3/6chorale setting "Ach Gott, wie manches Herzeleid" (s. 18)SATB 1: 94 III/2.1: 26
III/2.2: 90
after Z 533a; text by Moller 11191
4.21.1724-04-09 Cantata Christ lag in Todes Banden (Easter)E min.satbSATB Cnt 3Tbn Str Bc 1: 95 I/9: 1after BWV 4.1; text by Luther 00004
4/8chorale setting "Christ lag in Todes Banden" (s. 7)E min.
D min.
SATB 1: 124 III/2.2: 104after Z 7012a; text by Luther 11295
4.11.1707-04-24 Cantata Christ lag in Todes Banden (Easter; early version, lost)satbSATB 2Vl 2Va BcI/9after Z 7012a; → BWV 4.2; text by Luther 00005
51.1724-10-15 Cantata Wo soll ich fliehen hin (Trinity XIX)G min.satbSATB Tdt 2Ob Str Bc 1: 125 I/24: 133after Z 2164; text after Heermann 00006
5/7chorale setting "Wo soll ich fliehen hin" (s. 11)SATB 1: 150 III/2.1: 66
III/2.2: 180
after Z 2164; text by Heermann 11232
chorale setting "Auf meinen lieben Gott"after Z 2164
61.1725-04-02 Cantata Bleib bei uns, denn es will Abend werden (Easter 2)C min.satbSATB 2Ob Odc Str Vc Bc 1: 151 I/10: 43after Z 439 (/3: → BWV 649), Z 350a (/6); text after Lk 24:29 (/1), by Melanchthon & Selnecker (/3), Luther (/6) 00007
6/6chorale setting "Erhalt uns, Herr, bei deinem Wort" (s. 2)G min.SATB 1: 176 III/2.2: 40after Z 350a; text by Luther 11338
71.1724-06-24 Cantata Christ unser Herr zum Jordan kam (24 June: feast of John the Baptist)E min.atbSATB 2Oba 2Vl Str Bc 1: 177 I/29: 25after Z 7246; text after Luther 00008
8.11.1724-09-24 Cantata Liebster Gott, wenn werd ich sterben? (Trinity XVI; 1st version)E maj.satbSATB Hn Fl 2Oba Str Bc 1: 211 I/23: 105after Z 6634; by Vetter, D. (/6); text after Neumann; → BWV 8.2 00009
8.21.1747-09-17 Cantata Liebster Gott, wenn werd ich sterben? (Trinity XVI; 2nd version)D maj.satbSATB Fl 2Oba Tai 2Vl Str BcI/23: 163after BWV 8.1 00010
91.1732-07-20 Cantata Es ist das Heil uns kommen her (Trinity VI)E maj.satbSATB Fl Oba Str Bc 1: 243 I/17.2: 83after Z 4430; text after Speratus 00011
9/7chorale setting "Es ist das Heil uns kommen her" (s. 12)SATB 1: 274 III/2.1: 52
III/2.2: 172
after Z 4430; text by Speratus 11213
101.1724-07-02 Cantata Meine Seel erhebt den Herren a.k.a. German Magnificat (Visitation)G min.satbSATB Tr 2Ob Str Bc 1: 275 I/28.2: 131after Magnificat peregrini toni; text after Magnificat; → BWV 648 00012
10/7chorale setting "Meine Seel erhebt den Herren" (doxology, ss. 10–11)SATB 1: 303 III/2.1: 82
III/2.2: 205
after Magnificat peregrini toni; text: German Magnificat 11248
121.1714-04-22 Cantata Weinen, Klagen, Sorgen, Zagen (Jubilate; two versions) F Dor. atbSATB Tr Ob 2Vl 2Va Bas Bc 2: 59 I/11.2: 1after Z 5629 (/7: → BWV 69.1/6); text by Franck, S.?; text after Acts 14:22 (/3); text by Rodigast (/7); /2 → BWV 232/14 00014
1724-04-30G min.
131.1726-01-20 Cantata Meine Seufzer, meine Tränen (Epiphany II)D min.satbSATB 2Fl Odc Str Bc 2: 79 I/5: 229after Z 6543 (/3), Z 2293b (/6); text by Lehms, Heermann (/3), Fleming (/6) 00015
13/6chorale setting "In allen meinen Taten" (s. 9)B♭ maj.SATB 2: 98 III/2.2: 58after Z 2293b; text by Fleming 11347
chorale setting "Nun ruhen alle Wälder"G maj.III/2.2: 216
141.1735-01-30 Cantata Wär Gott nicht mit uns diese Zeit (Epiphany IV)G min.stbSATB Hn 2Ob Str Bc 2: 99 I/6: 139after Z 4434; text after Luther 00016
14/5chorale setting "Wär Gott nicht mit uns diese Zeit" (s. 3)SATB 2: 132 III/2.1: 88
III/2.2: 103
after Z 4434; text by Luther 11250
161.1726-01-01 Cantata Herr Gott, dich loben wir (New Year/Circumcision)A min.atbSATB Hn 2Ob Odc Str Bc 2: 173 I/4: 103after Z 8652 (/1), 5267 (/6; → BWV 419); text by Lehms, Luther (/1), Eber (/6) 00018
1731-01-01atbSATB Hn 2Ob Va Str Bc
16/61726-01-01chorale setting "Helft mir Gotts Güte preisen" (s. 6)SATB 2: 198 III/2.2: 56after Z 5267; text by Eber 11324
171.1726-09-22 Cantata Wer Dank opfert, der preiset mich (Trinity XIV)A maj.satbSATB 2Ob Str Bc 2: 199 I/21: 147after Z 8244 (/7); text: Meiningen, after Ps 50:23 (/1; → BWV 236/6), Lk 17:15-16 (/4), by Gramann (/7) 00019
17/7chorale setting "Nun lob, mein Seel, den Herren" (s. 3)SATB 2: 225 III/2.2: 4after Z 8244; text by Gramann 11330
18.21.1724-02-13 Cantata Gleichwie der Regen und Schnee vom Himmel fällt (Sexagesima)A min.stbSATB 2Fl Bas 4Va Vc Bc 2: 227
(in g)
I/7: 107after BWV 18.1; text by Neumeister, after Is 55:1011 (/2), Luther (/3), by Spengler (/5) 00020
18/5chorale setting "Durch Adams Fall ist ganz verderbt" (s. 8)SATB 2: 252
(in g)
III/2.2: 71after Z 7549; text by Spengler 11301
1.1715-02-24chorale setting "Ich ruf zu dir, Herr Jesu Christ"G min.III/2.2: 56after Z 7549; text by Agricola
18.1 Cantata Gleichwie der Regen und Schnee vom Himmel fällt (Sexagesima)stbSATB Bas 4Va Vc BcI/7: 81after Z 7549 (/5); text by Neumeister, after Is 55:1011 (/2), Luther (/3), by Spengler (/5); → BWV 18.2 00021
191.1726-09-29 Cantata Es erhub sich ein Streit (Michaelmas)C maj.stbSATB 3Tr Tmp 2Ob 2Oba Tai Str Bc 2: 253 I/30: 55after Z 6543 (/7); text after Picander 00022
19/7chorale setting "Freu dich sehr, o meine Seele" (s. 9)SATB 2: 288 III/2.1: 62
III/2.2: 177
after Z 6543 11227
chorale setting "Weg, mein Herz, mit den Gedanken"after Z 6543; text by Gerhardt
201.1724-06-11 Cantata O Ewigkeit, du Donnerwort (Trinity I)F maj.atbSATB Tdt Tmp 3Ob Str Bc 2: 291 I/15: 133after Z 5820; text after Rist 00023
20/7
20/11
chorale setting "O Ewigkeit, du Donnerwort" (ss. 11, 16)SATB 2: 317,
327
III/2.2: 17after Z 5820; text by Rist 11332
21.11.before Dec. 1713 Cantata Ich hatte viel Bekümmernis (1st version: in ogni tempore; 1714-06-17: Trinity III)C min.satbSATB 3Tr Tmp Ob Str BcI/16: 109after Z 2778 (/9); text by Franck, S.?; text after Ps 94:19 (/2), 42:12 (/6), 116:7 (/9), Rv 5:12-13 (/11), by Neumark (/9); → BWV 21.2 00024
21.21.c.autumn 1720 Cantata Ich hatte viel Bekümmernis (2nd version: in ogni tempore)D min.satbSATB 3Tr Tmp Ob Str Bas BcI/16after BWV 21.1 (same text); → BWV 21.3 00025
21.31.1723-06-13 Cantata Ich hatte viel Bekümmernis (3rd version: Trinity III)C min.satbSATB 3Tr Tmp 4Tne Ob Str Bas Bc 51: 1 I/16after BWV 21.2 (same text) 00026
221.1723-02-07 Cantata Jesus nahm zu sich die Zwölfe (Estomihi)satbSATB Ob Str Bc 51: 65 I/8: 1after Z 4297a (/5); text after Luke 18:31, 34 (/1), by Cruciger (/5) 00027
23.11.1723 Cantata Du wahrer Gott und Davids Sohn (1st version, 3 movements: Estomihi)C min.satbSATB 2Ob Str Bc 51: 93 I/8: 33BWV 23.2, .3 00028
23.21.1723-02-07 Cantata Du wahrer Gott und Davids Sohn (2nd version, 4 movements: Estomihi)B min.satbSATB Cnt 3Tbn 2Oba Str BcI/8: 69after BWV 23.1, Z 58 (/4); text by Luther after Agnus Dei (/4); → BWV 23.3, 245.2/40 00029
23.31.1728–1731 Cantata Du wahrer Gott und Davids Sohn (3rd version, 4 movements: Estomihi)C min.satbSATB 2Ob Str Bc 51: 93 I/8: 33after BWV 23.1, .2; text by Luther after Agnus Dei (/4) 00030
241.1723-06-20 Cantata Ein ungefärbt Gemüte (Trinity IV)F maj.satbSATB Tr 2Ob 2Oba Str Bc 51: 125 I/17.1: 47after Z 5148 (/6); text by Neumeister, Heermann (/6), after Mt 7:12 (/3) 00031
24/6chorale setting "O Gott, du frommer Gott" (s. 1)SATB 51: 150 III/2.2: 195after Z 5148; text by Heermann 11333
chorale setting "Was frag ich nach der Welt"after Z 5148; text by Kindermann
251.1723-08-29 Cantata Es ist nichts Gesundes an meinem Leibe (Trinity XIV)E min.stbSATB Cnt 3Tbn 3Fl 2Ob Str Bc 51: 153 I/21: 79after Z 6543 (/6); text after Rambach  [ de ], Ps 38:4 (/1), by Heermann (/6) 00032
25/6chorale setting "Treuer Gott, ich muss dir klagen" (s. 12)C maj.SATB 51: 188 III/2.1: 15
III/2.2: 150
after Z 6543; text by Heermann 11177
chorale setting "Weg, mein Herz, mit den Gedenken"after Z 6543; text by Gerhardt
chorale setting "Freu dich sehr, o meine Seele"III/2.2: 168after Z 6543
261.1724-11-19 Cantata Ach wie flüchtig, ach wie nichtig (Trinity XXIV)A min.satbSATB Hn Fl 3Ob Str Bc 51: 189 I/27: 29after Z 1887b; text after Franck, M. 00033
26/6chorale setting "Ach wie flüchtig, ach wie nichtig" (s. 8)SATB 51: 216 III/2.2: 28after Z 1887b; text by Franck, M. 11289
271.1726-10-06 Cantata Wer weiß, wie nahe mir mein Ende? (Trinity XVI)C min.satbSSATB Hn 2Ob Odc Str Org Bc 51: 217 I/23: 221after Z 2778 (/1); by Rosenmüller (/6 = BWV Anh. 170); text by E. J. of Schwarzburg-Rudolstadt (/1), Albinus (/6), after Neumeister (/3) 00034
281.1725-12-30 Cantata Gottlob! nun geht das Jahr zu Ende (Christmas I)A min.satbSATB Cnt 3Tbn 2Ob Tai Str Bc 51: 245 I/3.2: 75after Z 8244 (/2), 5267 (/6); text by Neumeister, Gramann (/2), Eber (/6), after Jer 32:41 (/3); → BWV 28/2a, Anh. 160/2 00035
28/6chorale setting "Helft mir Gotts Güte preisen" (s. 12)SATB 51: 272 III/2.1: 13
III/2.2: 49
after Z 5267; text by Eber 11175
chorale setting "Zeuch ein zu deinen Toren"III/2.2: 15after Z 5267; text by Gerhardt
28/2a1.1725? Motet Sei Lob und Preis mit Ehren C maj.SATB 39: 167 III/3: 15after BWV 28/2; ↔ Anh. 160/2; was BWV 231 00036
291.1731-08-27 Cantata Wir danken dir, Gott, wir danken dir (council election)D maj.satbSATB 3Tr Tmp 2Ob Str Org Bc 51: 273 I/32.2: 1after BWV 120.2/4 (/1), Z 8244 (/8); text after Ps 75:2 (/2; → BWV 232/7, /23), by Gramann (/8) 00037
29/8chorale setting "Nun lob, mein Seel, den Herren" (s. 5)SATB 51: 316 III/2.2: 65after Z 8244; text by Gramann 11331
30.21.1738-06-24 Cantata Freue dich, erlöste Schar (24 June: feast of John the Baptist)D maj.satbSATB 2Fl 2Ob Oba Vl Str Bc 51: 321 I/29: 59after BWV 30.1, Z 6543 (/6); text by Picander?, Olearius, J. (/6) 00038
30.2/6chorale setting "Tröstet, tröstet, meine Lieben" (s. 3)A maj.SATB 51: 360 III/2.2: 42after Z 6543; text by Olearius, J. 11318
chorale setting "Freu dich sehr, o meine Seele"G maj.after Z 6543
30.11.1737-09-28 Secular cantata Angenehmes Wiederau (for Hennicke  [ de ] at Wiederau  [ de ] manor)D maj.satbSATB 3Tr Tmp 2Fl 2Ob Oba Str Bc51: 399
34: 325
I/39: 51text by Picander; → BWV 30.2, 195.2/6, /8 00039
31.21.1724-04-09 Cantata Der Himmel lacht! Die Erde jubilieret (Leipzig version: Easter)C maj.stbSSATB 3Tr Tmp Ob 2Oba Bas 2Vl 2Va Bc 7: 1 I/9: 41after BWV 31.1 (same text) 00040
31/9chorale setting "Wenn mein Stündlein vorhanden ist" (s. 5)SATB 7: 50 III/2.1: 56 after Z 4482a; text by Herman 11221
31.11.1715-04-21 Cantata Der Himmel lacht! Die Erde jubilieret (Weimar version: Easter)C maj.stbSSATB 3Tr Tmp 3Ob Tai Bas 2Vl 2Va BcI/9
rev 2: 37
after Z 4482a (/9); text by Franck, S, Herman (/9); → BWV 31.2 00041
321.1726-01-13 Cantata Liebster Jesu, mein Verlangen (Epiphany I)E min.sbSATB Ob Str Bc 7: 53 I/5: 143after Z 6543 (/6); text by Lehms, Gerhardt (/6) 00042
32/6chorale setting "Weg, mein Herz, mit den Gedenken" (s. 12)G maj.SATB 7: 80 III/2.2: 18after Z 6543; text by Gerhardt 11317
chorale setting "Freu dich sehr, o meine Seele"after Z 6543
331.1724-09-03 Cantata Allein zu dir, Herr Jesu Christ (Trinity XIII)A min.atbSATB 2Ob Str Bc 7: 81 I/21: 23after Z 7292b; text after Hubert 00043
33/6chorale setting "Allein zu dir, Herr Jesu Christ" (s. 4)SATB 7: 114 III/2.1: 58
III/2.2: 10
after Z 7292b; text by Hubert 11223
34.11.1727-06-01 Cantata O ewiges Feuer, o Ursprung der Liebe (Pentecost)D maj.atbSATB 3Tr Tmp 2Fl 2Ob Str Bc 7: 115 I/13: 129text after Ps 128:6 (/5); → BWV 34.2 00044
34.21.after 1727 Cantata O ewiges Feuer, o Ursprung der Liebe (wedding; incomplete)D maj.satbSATB Vl Va Bc 41: 117 I/33: 27after BWV 34.1; text after Ps 128:4–6 (/3–/4), Nm 6:24–26 (/7) 00045
351.1726-09-08 Cantata Geist und Seele wird verwirret (Trinity XII)D min.a 2Ob Tai Str Org Bc 7: 171 I/20: 215text by Lehms; → BWV 1059 00046
36.41.c.1726–1730 Cantata Schwingt freudig euch empor (Advent I; early version)D maj.stbSATB Oba Str Bc 7: 395 I/1: 17after BWV 36.1, Z 8359 (/5); text by Picander?, by Nicolai (/5); → BWV 36.5 00048
36.4/5chorale setting "Wie schön leuchtet der Morgenstern" (s. 7)SATB 7: 399 III/2.1: 28 after Z 8359; text by Nicolai 11193
36.51.1731-12-02 Cantata Schwingt freudig euch empor (Advent I)D maj.satbSATB 2Oba Str Bc 7: 221 I/1: 41after BWV 36.4, Z 1174 (/2, /6, /8), Z 8359 (/4); text by Picander?, by Luther (/2, /6, /8), Nicolai (/4) 00047
36.5/4chorale setting "Wie schön leuchtet der Morgenstern" (s. 6)SATB 7: 243 III/2.2: 48,
109, 180
after Z 8359; text by Nicolai 11346
36.5/8chorale setting "Nun komm, der Heiden Heiland" (s. 8)B min.SATB 7: 258 III/2.2: 18after Z 1174; text by Luther 11329
36.21.1726-11-30 or
1725-11-30
Secular cantata Steigt freudig in die Luft (birthday of Charlotte Friederike Wilhelmine of Anhalt-Köthen; music lost)stbSATB Oba Va Str Bc (?)I/35text by Picander; after BWV 36.1/1, /3, /5, /7, /9 00049
36.31.1735-07-27 Secular cantata Die Freude reget sich (birthday of Rivinus, J. F.  [ de ]?)D maj.satSATB Fl Oba Str Bc 34: 39 I/38: 255after BWV 36.1/1, /3, /5, /7, /8 00050
36.11.April–May 1725 Secular cantata Schwingt freudig euch empor (birthday of Mencke, J. B.  [ de ]?)D maj.stbSATB Oba Str Va Bc 34: 39 I/39: 1BWV 36.2.4 00051
371.1724-05-18 Cantata Wer da gläubet und getauft wird (Ascension)A maj.satbSATB 2Oba Str Bc 7: 259 I/12: 79after Z 8359 (/3), 5354 (/6); text after Mk 16: 16, by Nicolai (/3), Kolross (/6) 00052
37/6chorale setting "Ich dank dir, lieber Herre" (s. 4)SATB 7: 282 III/2.2: 197after Z 5354; text by Kolross 11304
381.1724-10-29 Cantata Aus tiefer Not schrei ich zu dir (Trinity XXI)E min.satbSATB 2Ob 4Tbn Str Bc 7: 283 I/25: 217after Z 4437; text after Luther 00053
38/6chorale setting "Aus tiefer Not schrei ich zu dir" (s. 5)SATB 7: 300 III/2.1: 67
III/2.2: 8
after Z 4437; text by Luther 11233
391.1726-06-23 Cantata Brich dem Hungrigen dein Brot (Trinity I)G min.sabSATB 2Fl 2Ob Str Bc 7: 336 I/15 179after Z 6543 (/7); text: Meiningen, after Is 58:7–8 (/1), Hb 13:16 (/4), by Denicke (/7) 00054
39/7chorale setting "Kommt, lasst euch den Herren lehren" (s. 6)B♭ maj.SATB 7: 348 III/2.1: 81
III/2.2: 37
after Z 6543; text by Denicke 11247
chorale setting "Freu dich sehr, o meine Seele"after Z 6543
401.1723-12-26 Cantata Darzu ist erschienen der Sohn Gottes (Christmas 2)F maj.atbSATB 2Hn 2Ob Str Bc 7: 349 I/3.1: 3after Z 2072 (/3), 4870 (/6), 7880a (/8); text after 1Jh 3:8 (/1; → BWV 233/6), by Füger (/3), Gerhardt (/6), Keymann (/8) 00055
40/3chorale setting "Wir Christenleut" (s. 3)G min.SATB 7: 377 III/2.2: 186after Z 2072; text by Füger 11315
40/6chorale setting "Schwing dich auf zu deinem Gott" (s. 2)D min.SATB 7: 387 III/2.2: 82after Z 4870; text by Gerhardt 11343
40/8chorale setting "Freuet euch, ihr Christen alle" (s. 4)F min.SATB 7: 394 III/2.2: 6after Z 7880a; text by Keymann 11339
411.1725-01-01 Cantata Jesu, nun sei gepreiset (New Year)C maj.satbSATB 3Tr Tmp 3Ob Str Vc Bc 10: 1 I/4: 37after Z 8477a; text after Hermann; /6 → BWV 171/6 00056
41/6chorale setting "Jesu, nun sei gepreiset" (s. 3)SATB 10: 58 III/2.1: 90
III/2.2: 8
after Z 8477a; text by Hermann 11253
421.1725-04-08 Cantata Am Abend aber desselbigen Sabbats (Quasimodogeniti)D maj.satbSATB 2Ob Bas Str Bc 10: 63 I/11.1: 61after Z 1945b (/7); text after Jh 20:19 (/2), by Fabricius  [ de ] (/4), Luther after Da pacem, Domine & Walter after 1Tm 2:2 (/7) 00057
42/7chorale setting "Verleih uns Frieden gnädiglich" (ss. 1–2)F♯ min.SATB 10: 91 III/2.1: 21
III/2.2: 51, 154
after Z 1945b; text by Luther after Da pacem, Domine & Walter after 1Tm 2:2 11186
431.1726-05-30 Cantata Gott fähret auf mit Jauchzen (Ascension)C maj.satbSATB 3Tr Tmp 2Ob Str Bc 10: 93 I/12: 133after Z 5741b (/11: by Peter  [ de ]); text: Meiningen, after Ps 47:6-7 (/1), Mk 16:19 (/4), by Rist (/11) 00058
441.1724-05-21 Cantata Sie werden euch in den Bann tun (Exaudi)G min.satbSATB 2Ob Str Bc 10: 127 I/12: 165after Z 533a (/4), 2293b (/7); text after Jh 16:2 (/1–2), by Moller (/4), Fleming (/7) 00059
44/7chorale setting "In allen meinen Taten" (s. 7)B♭ maj.SATB 10: 150 III/2.1: 75
III/2.2: 203
after Z 2293b; text by Fleming 11242
chorale setting "Nun ruhen alle Wälder"after Z 2293b; text by Gerhardt
451.1726-08-11 Cantata Es ist dir gesagt, Mensch, was gut ist (Trinity VIII)E maj.atbSATB 2Fl Ob Oba Str Bc 10: 151 I/18: 197after Z 5206b–c (/7); text: Meiningen, after Mh 6:8 (/1), Mt 7:2223 (/4), by Heermann (/7) 00060
45/7chorale setting "O Gott, du frommer Gott" (s. 7)SATB 10: 186 III/2.2: 47after Z 5206b–c; text by Heermann 11297
461.1723-08-01 Cantata Schauet doch und sehet, ob irgend ein Schmerz sei (Trinity X)D min.atbSATB Tdt Hn 2Fl 2Odc Str Bc 10: 187 I/19: 109after Z 5105a (/6); text after Lm 1:12 (/1), by Meyfart (/6) 00061
46/6chorale setting "O großer Gott von Macht" (s. 9)G min.SATB 10: 236 III/2.2: 45after Z 5105a; text by Meyfart 11341
471.1726-10-13 Cantata Wer sich selbst erhöhet, der soll erniedriget werden (Trinity XVII)G min.sbSATB 2Ob Str Org Bc 10: 239 I/23: 319after Z 1689a (/5); text by Helbig, after Lk 14:11 (/1) 00062
47/5chorale setting "Warum betrübst du dich, mein Herz" (s. 11)SATB 10: 274 III/2.2: 52after Z 1689a 11336
481.1723-10-03 Cantata Ich elender Mensch, wer wird mich erlösen (Trinity XIX)G min.atSATB Tr 2Ob Str Bc 10: 275 I/24: 105after Z 2051 (/3), 4486 (/7); text after Rm 7:24, by Rutilius  [ de ] (/3) 00063
48/3chorale setting "Ach Gott und Herr" (s. 4)B♭ maj.SATB 10: 288 III/2.1: 30
III/2.2: 166
after Z 2051; text by Rutilius  [ de ] 11197
48/7chorale setting "Herr Jesu Christ, ich schrei zu dir" (s. 12)G min.SATB 10: 298 III/2.1: 33
III/2.2: 158
after Z 4486 11320
chorale setting "Herr Jesu Christ, du höchstes Gut"after Z 4486; text by Ringwaldt
491.1726-11-03 Cantata Ich geh und suche mit Verlangen (Trinity XX)G min.sb Oba Str Vl Org Bc 10: 299 I/25: 107after Z 8359; text by Birkmann, Nicolai & after Jer 31:3, Rv 3:20 (/6); /1 → BWV 1053/3 00064
501. Cantata Nun ist das Heil und die Kraft (single movement; arrangement or fragment of a cantata for Michaelmas?)D maj.2SATB 3Tr Tmp 3Ob Str Bc 10: 341 I/30: 141text after Rv 12:10; in SBB P 136 00065
511.1730-09-17 Cantata Jauchzet Gott in allen Landen (Trinity XV)C maj.s (2)Tr (Tmp) Str Bc 122: 1 I/22: 77after Z 8244 (/4); text after Ps 128:2 & 26:2 (/2), by Gramann (/4) 00066
521.1726-11-24 Cantata Falsche Welt, dir trau ich nicht (Trinity XXIII)F maj.sSATB 2Hn 3Ob Bas Str Bc 122: 25 I/26: 131after BWV 1046a/1 (/1), Z 2461 (/6); text by Birkmann, Reusner (/6) 00067
541.1714–1717? Cantata Widerstehe doch der Sünde (Oculi)E♭ maj.a 2Vl 2Va Bc 122: 59 I/18: 3text by Lehms; → BWV 247/53? 00069
551.1726-11-17 Cantata Ich armer Mensch, ich Sündenknecht (Trinity XXII)G min.tSATB Fl Oba Str Bc 122: 73 I/26: 55after Z 6551 (/5); text by Birkmann, Rist (/5) 00070
55/5chorale setting "Werde munter, mein Gemüte" (s. 6)B♭ maj.SATB 122: 86 III/2.2: 53after Z 6551; text by Rist 11319
561.1726-10-27 Cantata Ich will den Kreuzstab gerne tragen (Trinity XIX)G min.bSATB 2Ob Tai Str Vc Bc 122: 87 I/24: 173after Z 6773 (/5); text by Birkmann, Franck, J. (/5) 00071
56/5chorale setting "Du, o schönes Weltgebäude" (s. 6) C Dor. SATB 122: 104 III/2.2: 48after Z 6773; text by Franck, J. 11300
571.1725-12-26 Cantata Selig ist der Mann (Christmas 2)G min.sbSATB 2Ob Tai Str Bc 122: 105 I/3.1: 83after Z 1912a–c (/8); text by Lehms, Fritsch (/8), after Jm 1:12 (/1) 00072
57/8chorale setting "Hast du denn, Jesu, dein Angesicht gänzlich verborgen" (s. 6)B♭ maj.SATB 122: 132 III/2.2: 50after Z 1912a–c; text by Fritsch 11323
58.21.1733-01-04
or
1734-01-03
Cantata Ach Gott, wie manches Herzeleid (New Year I)C maj.sb 2Ob Tai Vl Str Bc 122: 133 I/4: 217after BWV 58.1; text by Birkmann, Moller (/1), Behm (/5) 00073
58.11.1727-01-05 Cantata Ach Gott, wie manches Herzeleid (New Year I; early version)C maj.sb Vl Str BcI/4: 241after Z 533a (/1, /5); text by Birkmann, Moller (/1), Behm (/5); → BWV 58.2 00074
591.1724-05-28 Cantata Wer mich liebet, der wird mein Wort halten (Pentecost)C maj.sbSATB 2Tr Tmp Str Bc 122: 151 I/13: 65after Z 7445a (/3); text by Neumeister, Luther (/3), after Jh 14:23 (/1); → BWV 74/1–/2, 175/7 00075
601.1723-11-07 Cantata O Ewigkeit, du Donnerwort (Trinity XXIV)D maj.atbSATB Hn 2Oba Str Bc 122: 169 I/27: 1after Z 5820 (/1), 7173 (/5); text by Rist (/1), Burmeister (/5), after Rv 14:13 (/4) 00076
60/5chorale setting "Es ist genug, so nimm" (s. 5)A maj.SATB 122: 190 III/2.1: 37
III/2.2: 127
after Z 7173; text by Burmeister 11203
611.1714-12-02 Cantata Nun komm, der Heiden Heiland (Advent I – first setting)A min.stbSATB Fag 2Vl 2Va Bc 16: 1 I/1: 1after Z 1174 (/1), 8359 (/6); text by Neumeister, Luther (/1), Nicolai (/6), after Rv 3:20 (/4) 00077
621.1724-12-03 Cantata Nun komm, der Heiden Heiland (Advent I – second setting)B min.satbSATB Hn 2Ob Str Bc 16: 19 I/1: 75after Z 1174; text after Luther 00078
62/6chorale setting "Nun komm, der Heiden Heiland" (s. 8)SATB 16: 50 III/2.1: 68 after Z 1174; text by Luther 11234
A min.III/2.2: 97
631.1714-12-25
1723-12-25
Cantata Christen, ätzet diesen Tag (Christmas; two versions)C maj.satbSATB 4Tr Tmp 3Ob Bas Str Bc 16: 51 I/2: 1text by Heineccius? 00079
641.1723-12-27 Cantata Sehet, welch eine Liebe hat uns der Vater erzeiget (Christmas 3)E min.sabSATB Cnt 3Tbn Oba Str Bc 16: 111, 371 I/3.1: 113after Z 1947 (/2), 5206b–c (/4), 8032 (/8); text after Knauer  [ scores ], 1Jh 3:1 (/1), by Luther (/2), Kindermann (/4), Franck, J. (/8) 00080
64/2chorale setting "Gelobet seist du, Jesu Christ" (s. 7)G maj.SATB 16: 371 III/2.1: 16
III/2.2: 92
after Z 1947; text by Luther 11179
64/4chorale setting "Was frag ich nach der Welt" (s. 1)D maj.SATB 16: 372 III/2.1: 16
III/2.2: 151
after Z 5206b–c; text by Kindermann 11180
64/8chorale setting "Jesu, meine Freude" (s. 5)E min.SATB 16: 132 III/2.1: 15
III/2.2: 80
after Z 8032; text by Franck, J. 11178
651.1724-01-06 Cantata Sie werden aus Saba alle kommen (Epiphany)C maj.tbSATB 2Hn 2Fl 2Odc Str Bc 16: 133 I/5: 1after Z 192b (/2), 7568 (/7); text after Is 60:6 (/1), by Spangenberg (/2), Gerhardt (/7) 00081
65/2chorale setting "Ein Kind geboren zu Bethlehem" (s. 4)A min.SATB 16: 152 III/2.2: 9after Z 192b; text by Spangenberg 11342
chorale setting "Puer natus in Bethlehem"after Z 192b
65/7chorale setting "Ich hab in Gottes Herz und Sinn" (s. 10)A min.SATB 16: 166 III/2.2: 24after Z 7568; text by Gerhardt 11337
chorale setting "Was mein Gott will, das gscheh allzeit"after Z 7568; text by Albert of Prussia
66.21.1724-04-10 Cantata Erfreut euch, ihr Herzen (Easter 2)D maj.atbSATB Tr 2Ob Str Bc 16: 167 I/10: 1after BWV 66.1/8, /1–/4, Z 8584/3 00082
66.2/6chorale setting "Alleluja", s. 3 from "Christ ist erstanden"F♯ min.SATB 16: 214 III/2.1: 57 after Z 8584/3 11222
66.11.1718-12-10 Secular cantata Der Himmel dacht auf Anhalts Ruhm und Glück (birthday of Leopold of Anhalt-Köthen)atbSATB 2Ob Bas Str Bc (?)I/35text by Hunold; → BWV 66.2/1–/5 00083
671.1724-04-16 Cantata Halt im Gedächtnis Jesum Christ (Quasimodogeniti)A maj.atbSATB Hn Fl 2Oba Str Bc 16: 215 I/11.1: 1after Z 1743 (/4), 4373 (/7); text after 2Ti 2:8 (/1), Jh 20:19 (/6; → BWV 234/2), by Herman (/4), Ebert (/7) 00084
67/7chorale setting "Du Friedefürst, Herr Jesu Christ" (s. 1)SATB 16: 246 III/2.1: 10
III/2.2: 25
after Z 4373; text by Ebert 11174
681.1725-05-21 Cantata Also hat Gott die Welt geliebt (Pentecost 2)D min.sbSATB Hn Cnt 3Tbn 2Ob Tai Str Vc Bc 16: 247 I/14: 31after Z 5920 (/1), BWV 208/13 (/2) and /7 (/4); text by Ziegler, C. M., Liscow (/1), after Jh 3:18 (/5) 00085
69.21.1748-08-26 Cantata Lobe den Herrn, meine Seele (council election)D maj.satbSATB 3Tr Tmp 3Ob Oba Bas Str Bc 16: 281 I/32.2: 111after BWV 69.1/1, /3, /5, Z 7247 (/6); text after Knauer  [ scores ], Ps 103:2 (/1), by Luther (/6) 00086
69.2/6chorale setting "Es woll uns Gott genädig sein" (s. 3)SATB 16: 325 III/2.2: 192after Z 7247; text by Luther 11303
69.11.1723-08-15 Cantata Lobe den Herrn, meine Seele (Trinity XII)D maj.satbSATB 3Tr Tmp Fl 3Ob Oba Odc Bas Str Bc 16: 373 I/20: 117 after BWV 12/7 (/6); text after Knauer  [ scores ], Ps 103:2 (/1), by Rodigast (/6); → BWV 69.2/1, /3, /5 00087
69.1/6chorale setting "Was Gott tut, das ist wohlgetan" (s. 6)G maj.SATB 16: 379 III/2.1: 55
III/2.2: 174
after BWV 12/7; text by Rodigast 11219
70.21.1723-11-21 Cantata Wachet! Betet! Betet! Wachet! (Trinity XXVI)C maj.satbSATB Tr Ob Str Vc Bc 16: 327 I/27: 107after BWV 70.1, Z 6543 (/7); text by Franck, S, Keymann (/11) 00088
70.2/111716-12-06chorale setting "Meinen Jesum laß ich nicht, weil" (s. 5)C maj.SATB 16: 368 III/2.2: 200= BWV 70.1/6 11308
70.11. Cantata Wachet! Betet! Betet! Wachet! (Advent II)satbSATB Tr Ob Str Vc Bc 16: 327 I/1after Z 3449 (/6); text by Franck, S, Keymann (/6); → BWV 70.2/1, /3, /5, /8, /10, /11 00089
711.1708-02-04 Cantata Gott ist mein König (council election)D maj.satbSATB 3Tr Tmp 2Fl Vc 2Ob Bas Str Vne Org 18: 1 I/32.1: 3after Z 5148 (/2); text by Eilmar?, Heermann & after 2Sm 19:35 & 37 (/2), Ps 74:12 (/1), 16–17 (/4), 19 (/6), Dt 33:25 & Gn 21:22b (/3) 00090
721.1726-01-27 Cantata Alles nur nach Gottes Willen (Epiphany III)A min.sabSATB 2Ob Str Bc 18: 55 I/6: 59after Z 7568 (/6); text by Franck, S, Albert of Prussia (/6); /1 → BWV 235/2 00091
731.1724-01-23 Cantata Herr, wie du willt, so schicks mit mir (Epiphany III)G min.stbSATB Hn 2Ob Str Bc 18: 85 I/6: 3after Z 4441a (/1), 5264b (/5); text by Bienemann  [ de ] (/1), Helmbold (/5) 00092
73/5chorale setting "Von Gott will ich nicht lassen" (s. 9)C min.
A min.
SATB 18: 104 III/2.2: 107after Z 5264b; text by Helmbold 11310
741.1725-05-20 Cantata Wer mich liebet, der wird mein Wort halten (Pentecost)C maj.satbSATB 3Tr Tmp 2Ob Odc Str Bc 18: 105 I/13: 83after BWV 59/1 & /4 (/1–/2), Z 2496 (/8); text by Ziegler, C. M., Gerhardt (/8), after Jh 14:23 (/1), 28 (/4), Rm 8:1 (/6) 00093
74/8chorale setting "Gott Vater, sende deinen Geist" (s. 2)A min.SATB 18: 146 III/2.1: 78
III/2.2: 212
after Z 2496; text by Gerhardt 11245
chorale setting "Kommt her zu mir, spricht Gottes Sohn"after Z 2496; text by Grünwald
751.1723-05-30 Cantata Die Elenden sollen essen (Trinity I)E min.satbSATB Tr 2Ob Oba Bas Str Bc 18: 147 I/15: 85after Z 5629 (/7=/14: → BWV 100/6); text after Ps 22:27 (/1), by Rodigast (/7, /14) 00094
761.1723-06-06 Cantata Die Himmel erzählen die Ehre Gottes (Trinity II)C maj.satbSATB Tr 2Ob Oba Str Vdg Bc 18: 189 I/16: 1after Z 7247 (/7=/14); text after Ps 12:2 & 4 (/1), by Luther (/7, /14); /8 ↔ BWV 528/1 00095
771.1723-08-22 Cantata Du sollt Gott, deinen Herren, lieben (Trinity XIII)C maj.satbSATB Tdt 2Ob Str Bc 18: 233 I/21: 1after Z 4431 (/6); text after Knauer, Lk 10:27 (/1), by Denicke? (/6) 00096
77/6chorale setting "Wenn einer alle Ding verstünd" (s. 8)?G min.SATB 18: 254 III/2.1: 14
III/2.2: 150
after Z 4431; text by Denicke 11176
chorale setting "Ach Gott, vom Himmel sieh darein"after Z 4431; text by Luther
781.1724-09-10 Cantata Jesu, der du meine Seele (Trinity XIV)G min.satbSATB Hn Fl 2Ob Str Vne Bc 18: 255 I/21: 115after Z 6804; text after Rist 00097
78/7chorale setting "Jesu, der du meine Seele" (s. 12)SATB 18: 286 III/2.1: 60
III/2.2: 150
after Z 6804; text by Rist 11225
791.1725-10-31 Cantata Gott der Herr ist Sonn und Schild (Reformation Day; two versions: Fl associated with 2nd c.1730)G maj.sabSATB 2Hn Tmp (2Fl) 2Ob Str Bc 18: 287 I/31: 1after Z 5142 (/3), 159 (/6); text after Ps 84:12 (/1), by Rinkart (/3), Helmbold (/6); → BWV 236/2, /4, 234/5 00098
80.31.c.1735? Cantata Ein feste Burg ist unser Gott (Reformation Day; 2nd Leipzig v.; Tr & Tmp in BGA likely W. F. Bach's addition)D maj.satbSATB 3Ob 2Oba Odc Str Bc 18: 317 I/31: 71after BWV 80.2 (same text) 00099
80.11.1715-03-24 Cantata Alles, was von Gott geboren (Oculi; music lost)satb(?)SATB Ob Str BcI/8.2: Vafter Z 7377 (/1, /6)?; text by Franck, S, Luther (/6); → BWV 80.2 00100
80.21.c.1729–1731 Cantata Ein feste Burg ist unser Gott (Reformation Day; 1st Leipzig version)D maj.sbSATB Ob Str Bc 18: 351 I/31: 65after Z 7377, BWV 80.1 (/2–/4, /6–/7); text by Franck, S, Luther (/1, /2, /5, /8); → BWV 80.3 00101
80/8chorale setting "Ein feste Burg ist unser Gott" (s. 4)SATB 18: 378 III/2.1: 29
III/2.2: 162
after Z 7377; text by Luther 11195
811.1724-01-30 Cantata Jesus schläft, was soll ich hoffen? (Epiphany IV)E min.atbSATB 2Fl 2Oba Str Bc 201: 1 I/6: 111after Z 8032 (/7); text after Ps 10:1 (/2), Mt 8:26 (/4), by Franck, J. (/7) 00102
81/7chorale setting "Jesu, meine Freude" (s. 2)SATB 201: 24 III/2.2: 188after Z 8032; text by Franck, J. 11305
82.11.1727-02-02 Cantata Ich habe genug (Purification; 1st version)C min.b Ob Str Bc 201: 25 I/28.1: 77text by Birkmann; → BWV 82.2–.4 00103
82.21.1731-02-02 Cantata Ich habe genug (Purification; 2nd version)E min.s Fl Str BcI/28.1: 155after BWV 82.1 (same text); → 82.3–.4 00104
82.2/2–/31.c.1731 (AMB) Notebook A. M. Bach (1725) No. 34 Recitative "Ich habe genug"; Aria "Schlummert ein, ihr matten Augen"E min.s Bc 432: 46 V/4:122after BWV 82.2; text by Birkmann 00104
82.2/31.c.1731 (AMB) Notebook A. M. Bach (1725) No. 38 Aria "Schlummert ein, ihr matten Augen" (incomplete)E min.s Bc 432: 49 V/4:122after BWV 82.2; text by Birkmann 00104
82.31.c.1735 Cantata Ich habe genug (Purification; 3rd version)C min.b or mezzo Ob Str BcI/28.1: 109after BWV 82.1–.2 (same text); → 82.4 00105
82.41.1746–1748 Cantata Ich habe genug (Purification; 4th version)C min.b (or mezzo) Ob Odc Str BcI/28.1: 109after BWV 82.1–.3 (same text) 00106
831.1724-02-02 Cantata Erfreute Zeit im neuen Bunde (Purification)F maj.atbSATB 2Hn 2Ob Vl Str Bc 201: 51 I/28.1: 3after Z 3986 (/5); text after Lk 2:29-31 (/2), Hb 4:16 (/3), by Luther (/5) 00107
83/5chorale setting "Mit Fried und Freud ich fahr dahin" (s. 4)D min.SATB 201: 76 III/2.2: 188after Z 3986; text by Luther 11309
841.1727-02-09 Cantata Ich bin vergnügt mit meinem Glücke (Septuagesimae)E min.sSATB Ob Str Bc 201: 77 I/7: 21after Z 2778 (/5); text after Picander, by E. J. of Schwarzburg-Rudolstadt (/5) 00108
84/5chorale setting "Wer weiß, wie nahe mir mein Ende" (s. 12)B min.SATB 201: 98 III/2.1: 27
III/2.2: 63
after Z 2778; text by E. J. of Schwarzburg-Rudolstadt 11192
chorale setting "Wer nur den lieben Gott lässt walten"after Z 2778; text by Neumark
851.1725-04-15 Cantata Ich bin ein guter Hirt (Misericordias Domini)C min.satbSATB 2Ob Str Vc Bc 201: 99 I/11.1: 157after Z 4457 (/3), 2542 (/6); text after Jh 10:12 (/1), by Becker (/3), Homburg  [ de ] (/6) 00109
85/6chorale setting "Ist Gott mein Schild und Helfersmann" (s. 4)SATB 201: 118 III/2.1: 74
III/2.2: 69
after Z 2542; text by Homburg  [ de ] 11240
861.1724-05-14 Cantata Wahrlich, wahrlich, ich sage euch (Rogate)E maj.satbSATB 2Oba Str Bc 201: 119 I/12: 45after Z 2496c (/3), 4430 (/6); text after Jh 16:23 (/1), by Grünwald (/3), Speratus (/6) 00110
86/6chorale setting "Es ist das Heil uns kommen her" (s. 11)SATB 201: 134 III/2.2: 3after Z 4430; text by Speratus 11322
871.1725-05-06 Cantata Bisher habt ihr nichts gebeten in meinem Namen (Rogate)D min.atbSATB 2Ob 2Odc Str Bc 201: 135 I/12: 61after Z 8032 (/7); text after Ziegler, C. M., Jh 16:24 (/1), by Müller, H. (/7) 00111
87/7chorale setting "Selig ist die Seele" (s. 9)SATB 201: 152 III/2.1: 73
III/2.2: 54
after Z 8032; text by Müller, H. 11239
chorale setting "Jesu, meine Freude"after Z 8032; text by Franck, J.
881.1726-07-21 Cantata Siehe, ich will viel Fischer aussenden (Trinity V)D maj.satbSATB 2Hn 2Oba Tai Str Bc 201: 153 I/17.2: 33after Z 2778 (/7); text: Meiningen, after Jer 16:16 (/1), Lk 5:10 (/4), by Neumark (/7) 00112
88/7chorale setting "Wer nur den lieben Gott lässt walten" (s. 7)B min.SATB 201: 178 III/2.2: 58after Z 2778; text by Neumark 11312
891.1723-10-24 Cantata Was soll ich aus dir machen, Ephraim? (Trinity XXII)C min.sabSATB Hn 2Ob Str Bc 201: 179 I/26: 1after Z 2164 (/6); text after Hs 11:8 (/1), by Heermann (/6) 00113
89/6chorale setting "Wo soll ich fliehen hin" (s. 7)G min.SATB 201: 194 III/2.2: 167after Z 2164; text by Heermann 11292
901.1723-11-14 Cantata Es reißet euch ein schrecklich Ende (Trinity XXV)D min.atbSATB (Tr) Str Bc 201: 195 I/27: 59after Z 2561 (/5); text by Moller (/5) 00114
90/5chorale setting "Nimm von uns, Herr, du treuer Gott" (s. 7)SATB 201: 214 III/2.1: 33
III/2.2: 158
after Z 2561; text by Moller 11199
chorale setting "Vater unser im Himmelreich"after Z 2561; text by Luther
91.21.1746–1747 Cantata Gelobet seist du, Jesu Christ (Christmas; later version)G maj.satbSATB 2Hn Tmp 3Ob Str Bc 22: 1 I/2: 131after BWV 91.1 (same text) 00115
91.11.1724-12-25 Cantata Gelobet seist du, Jesu Christ (Christmas; early version)G maj.satbSATB 2Hn Tmp 3Ob Str Bc 22: 1,
333
I/2: 164after Z 1947; text after Luther; → BWV 91.2 00116
91/6chorale setting "Gelobet seist du, Jesu Christ" (s. 7)SATB III/2.1: 89
III/2.2: 30
after Z 1947; text by Luther 11252
921.1725-01-28 Cantata Ich hab in Gottes Herz und Sinn (Septuagesimae)B min.satbSATB 2Oba Str Bc 22: 33 I/7: 41after Z 7568; text after Gerhardt 00117
931.1724-07-09 Cantata Wer nur den lieben Gott läßt walten (Trinity V)C min.satbSATB 2Ob Str Bc 22: 69 I/17.2: 3after Z 2778; text after Neumark; /4 → BWV 647 00118
941.1724-08-06 Cantata Was frag ich nach der Welt (Trinity IX)D maj.satbSATB Fl 2Ob 2Oba Str Bc 22: 95 I/19: 43after Z 5206b–c; text after Kindermann 00119
94/8chorale setting "Was frag ich nach der Welt" (s. 8)SATB 22: 127 III/2.1: 53
III/2.2: 173
after Z 5206b–c; text by Kindermann 11215
951.1723-09-12 Cantata Christus, der ist mein Leben (Trinity XVI)G maj.stbSATB Hn or Cnt 2Ob 2Oba Str Bc 22: 129 I/23: 65after Z 132 & 3986 (/1: → BWV 282), 5404a (/3), 4482 (/7); text by Simon Graf  [ de ] & Luther (/1), Herberger (/3), Herman (/7) 00120
95/7chorale setting "Wenn mein Stündlein vorhanden ist" (s. 4)SATB 22: 153 III/2.1: 64 after Z 4482; text by Herman 11229
961.1724-10-08 Cantata Herr Christ, der einge Gottessohn (Trinity XVIII)F maj.satbSATB Hn or Tbn Fl/Fl or Vl 2Ob Str Bc 22: 155 I/24: 1after Z 4297a; text after Cruciger 00121
96/6chorale setting "Herr Christ, der einge Gottessohn" (s. 5)SATB 22: 184 III/2.1: 66
III/2.2: 179
after Z 4297a; text by Cruciger 11231
971.1734-07-25?
after 1735
Cantata In allen meinen Taten (two versions; Trinity V?)B♭ maj.satbSATB 2Ob Str Bc 22: 185, 336 I/34: 197after Z 2293b; text by Fleming; /9 → BWV 392 00122
97/9chorale setting "In allen meinen Taten" (s. 9)SATB 22: 230 III/2.1: 49 after Z 2293b; text by Fleming; → BWV 392 11210
chorale setting "Nun ruhen alle Wälder"after Z 2293b; text by Gerhardt; → BWV 392
981.1726-11-10 Cantata Was Gott tut, das ist wohlgetan (Trinity XXI)B♭ maj.satbSATB 2Ob Str Bc 22: 231 I/25: 241after Z 5629 (/1); text by Birkmann, Rodigast (/1) 00123
991.1724-09-17 Cantata Was Gott tut, das ist wohlgetan (Trinity XV)G maj.satbSATB Hn Fl Oba Str Bc 22: 251 I/22: 41after Z 5629; text after Rodigast; /1 → BWV 100/1 00124
1001.1734–1735 Cantata Was Gott tut, das ist wohlgetan G maj.satbSATB 2Hn Tmp Fl Oba Str Bc 22: 277 I/34: 239after Z 5629, BWV 99/1 (/1), 75/7 (/6); text by Rodigast 00125
100/6chorale setting "Was Gott tut, das ist wohlgetan" (s. 6)SATB 22: 323 III/2.1: 72 after 75/7=/14; text by Rodigast 11238
1011.1724-08-13 Cantata Nimm von uns, Herr, du treuer Gott (Trinity X)D min.satbSATB 2Hn Tmp Fl Oba Str Bc 23: 1 I/19: 173after Z 2561; text after Moller 00126
101/7chorale setting "Nimm von uns, Herr, du treuer Gott" (s. 7)SATB 23: 32 III/2.1: 54
III/2.2: 174
after Z 2561; text by Moller 11216
1021.1726-08-25 Cantata Herr, deine Augen sehen nach dem Glauben (Trinity X)G min.atbSATB Fl Vl 2Ob Str Bc 23: 33 I/19: 229after Z 2561 (/7); text: Meiningen, after Jer 5:3 (/1: → BWV 235/1), Rm 2:4–5 (/4), by Heermann (/7); /3 & /5 → BWV 233/4 & /5 00127
102/7chorale setting "So wahr ich lebe, spricht dein Gott" (ss. 6–7)C min.SATB 23: 66 III/2.2: 62after Z 2561; text by Heermann 11334
chorale setting "Vater unser im Himmelreich"after Z 2561; text by Luther
1031.1725-04-22
1731-04-15
Cantata Ihr werdet weinen und heulen (Jubilate, 2 versions)B min.atSATB Tr Fl Fl (or) Vl 2Oba Str Bc 23: 67 I/11.2: 25after Z 7568 (/6); text by Ziegler, C. M., Gerhardt (/6) 00128
103/6chorale setting "Barmherzger Vater, höchster Gott" (s. 9)SATB 23: 94 III/2.1: 72
III/2.2: 68
after Z 7568; text by Gerhardt 11237
chorale setting "Ich hab in Gottes Herz und Sinn"
chorale setting "Was mein Gott will, das gscheh allzeit"after Z 7568; text by Albert of Prussia
1041.1724-04-23 Cantata Du Hirte Israel, höre (Misericordias)G maj.tbSATB 2Ob 2Oba Tai Str Bc 23: 95 I/11.1: 113after Z 4457 (/6); text after Ps 80:2 (/1), by Becker (/6) 00129
104/6chorale setting "Der Herr ist mein getreuer Hirt" (s. 1)A maj.SATB 23: 116 III/2.2: 189after Z 4457; text by Becker 11283
chorale setting "Allein Gott in der Höh sei Ehr"after Z 4457; text by Decius
G maj.III/2.2: 71 11290
1051.1723-07-25 Cantata Herr, gehe nicht ins Gericht mit deinem Knecht (Trinity IX)G min.satbSATB Hn 2Ob Str Bc 23: 117 I/19: 1after Z 6804 (/6); text after Ps 143:2 (/1), by Rist (/6) 00130
105/6chorale setting "Jesu, der du meine Seele" (s. 11)SATB 23: 146 III/2.1: 52 after Z 6804; text by Rist 11214
1061.1708-09-16? Cantata Gottes Zeit ist die allerbeste Zeit (funeral; aka Actus tragicus)E♭ maj.satbSATB 2Fl 2Vdg Bc 23: 147 I/34: 1after Z 1680 (/2d), 3986 (/3b), 2461 (/4); text after Olearius, J., Acts 17:28 & Ps 90:12 & Is 38:1 & JS 14:18 & Rv 22:20 (/2), Ps 31:6 & Lk 23:43 & by Luther (/3), Reusner (/4) 00131
1071.1724-07-23 Cantata Was willst du dich betrüben (Trinity VII)B min.stbSATB Hn 2Fl 2Oba Str Bc 23: 179 I/18: 55after Z 5264b; text by Heermann 00132
1081.1725-04-29 Cantata Es ist euch gut, daß ich hingehe (Cantate)A maj.atbSATB 2Oba Str Bc 23: 203 I/12: 17after Z 2496 (/6); text by Ziegler, C. M., Gerhardt (/6), after Jh 16:7 (/1), 13 (/4) 00133
108/6chorale setting "Gott Vater, sende deinen Geist" (s. 10)B min.SATB 23: 230 III/2.1: 69
III/2.2: 26
after Z 2496; text by Gerhardt 11235
chorale setting "Kommt her zu mir, spricht Gottes Sohn"after Z 2496; text by Grünwald
1091.1723-10-17 Cantata Ich glaube, lieber Herr, hilf meinem Unglauben (Trinity XXI; 2 versions)D min.atSATB (Hn) 2Ob Str Bc 23: 231 I/25: 157after Z 7549 (/6); text after Mk 9:24 (/1), by Spengler (/6) 00134
1101.1725-12-25 Cantata Unser Mund sei voll Lachens (Christmas)D maj.satbSATB 3Tr Tmp 2Fl 3Ob Oba Odc Bas Str Bc 23: 263 I/2: 71after Z 2072 (/7); text by Lehms, Füger (/7), after Ps 126:2–3 (/1), Jer 10:6 (/3), Lk 2:14 (/5) 00135
110/7chorale setting "Wir Christenleut" (s. 5)B min.SATB 23: 324 III/2.2: 32after Z 2072; text by Füger 11316
1111.1725-01-25 Cantata Was mein Gott will, das g'scheh allzeit (Epiphany III)A min.satbSATB 2Ob Str Bc 24: 1 I/6: 27after Z 7568; text after Albert of Prussia 00136
1121.1731-04-08 Cantata Der Herr ist mein getreuer Hirt (Misericordias)G maj.satbSATB 2Hn 2Oba Str Bc 24: 29 I/11.1: 179after Z 4457; text by Meuslin after Ps. 23 00137
112/5chorale setting "Der Herr ist mein getreuer Hirt" (s. 5)SATB 24: 48 III/2.1: 71
III/2.2: 183,
202
11236
chorale setting "Allein Gott in der Höh sei Ehr"after Z 4457; text by Decius
1131.1724-08-20 Cantata Herr Jesu Christ, du höchstes Gut (Trinity XI)B min.satbSATB Fl 2Oba Str Bc 24: 49 I/20: 79after Z 4486; text after Ringwaldt 00138
113/8chorale setting "Herr Jesu Christ, du höchstes Gut" (s. 8)SATB 24: 80 III/2.1: 54
III/2.2: 175
after Z 4486; text by Ringwaldt 11217
1141.1724-10-01 Cantata Ach, lieben Christen, seid getrost (Trinity XVII)G min.satbSATB Hn Fl 2Ob Str Bc 24: 81 I/23: 287after Z 4441a; text after Gigas 00139
114/7chorale setting "Ach, lieben Christen, seid getrost" (s. 6)SATB 24: 108 III/2.1: 65
III/2.2: 179
after Z 4441a; text by Gigas 11230
1151.1724-11-05 Cantata Mache dich, mein Geist, bereit (Trinity XXII)G maj.satbSATB Hn Fl Oba Str Vc Bc 24: 109 I/26: 21after Z 6274a; text after Freystein 00140
115/6chorale setting "Mache dich, mein Geist, bereit" (s. 10)SATB 24: 132 III/2.1: 25
III/2.2: 23
after Z 6274a; text by Freystein 11190
chorale setting "Straf mich nicht in deinem Zorn"after Z 6274a; text by Albinus
1161.1724-11-26 Cantata Du Friedefürst, Herr Jesu Christ (Trinity XXV)A maj.satbSATB Hn 2Oba Str Bc 24: 133 I/27: 79after Z 4373; text after Ebert 00141
1171.1728–1731 Cantata Sei Lob und Ehr dem höchsten Gut G maj.atbSATB 2Fl 2Ob 2Oba Str Bc 24: 159 I/34: 151after Z 4430; text by Schütz, J. J. 00142
117/4
117/9
chorale setting "Sei Lob und Ehr dem höchsten Gut" (ss. 4, 9)SATB 24: 159 III/2.1: 71
III/2.2: 203
11172
chorale setting "Sei Lob und Ehr dem höchsten Gut" III/2.1: 9
III/2.2: 147
11173
1191.1723-08-30 Cantata Preise, Jerusalem, den Herrn (council election)C maj.satbSATB 4Tr Tmp 2Fl 3Ob 2Odc Str Bc 24: 193 I/32.1: 129after Z 8652 (/9); text after Ps 147:12–14 (/1), by Luther (/9) 00144
120.11.1729 or earlier Cantata Gott, man lobet dich in der Stille (council election)A maj.satbSATB 3Tr 2Ob 2Oba Vl Str Bc 24: 247 I/32.2: 53after Z 8652 (/6); text after Ps 65:2 (/1), by Luther (/6); ↔ BWV 120.2/6 (/1 → .3/1), /1 (/2 → .3/2), /3 (/4 ↔ 1019a/3 → .3/4) 00145
120.21.1729? Cantata Herr Gott, Beherrscher aller Dinge (wedding; incomplete)D maj.satbSATB 3Tr Tmp 2Ob 2Oba Str Org Bc 41: 149 I/33: 75after BWV 1006/1 (/4 → 29/1), 137/5 (/8); text after JS 50:24 (/2), by Luther (/5), Neander (/8); ↔ BWV 120.1/2 (/1 → .3/2), /4 (/3 ↔ 1019a/3 → .3/4), /1 (/6 → .3/1) 00146
120.31.1730-06-26 Cantata Gott, man lobet dich in der Stille (200th anniversary of the Augsb. Confess.; music lost, partially reconstructable)saSATB 3Tr Tmp 2Oba Vl Str Bc ?I/34
I/32.2
after BWV 120.1/1 (=.2/6), /2 (=.2/1 → 232 II/9), /4 (=.2/3 ↔ 1019a/3); text by Picander 00147
1211.1724-12-26 Cantata Christum wir sollen loben schon (Christmas 2)E min.satbSATB Cnt 3Tbn Oba Str Bc 26: 1 I/3.1: 57after Z 297c, text after Luther 00148
121/6chorale setting "Christum wir sollen loben schon" (s. 8)SATB 26: 20 III/2.2: 31after Z 297c, text by Luther 11284
1221.1724-12-31 Cantata Das neugeborne Kindelein (Christmas I)G min.satbSATB 3Fl 2Ob Tai Str Bc 26: 21 I/3.2: 53after Z 491; text after Schneegaß 00149
122/6chorale setting "Das neugeborne Kindelein" (s. 5)SATB 26: 40 III/2.1: 43
III/2.2: 30,
101
after Z 491; text by Schneegaß 11207
1231.1725-01-06 Cantata Liebster Immanuel, Herzog der Frommen (Epiphany)B min.atbSATB 2Fl 2Oba Str Bc 26: 41 I/5: 47after Z 4932c; text after Fritsch 00150
123/6chorale setting "Liebster Immanuel, Herzog der Frommen" (s. 6)SATB 26: 60 III/2.2: 108after Z 4932c; text by Fritsch 11340
1241.1725-01-07 Cantata Meinen Jesum laß ich nicht (Epiphany I)E maj.satbSATB Hn Oba Str Bc 26: 61 I/5: 115after Z 3449; text after Keymann 00151
1251.1725-02-02 Cantata Mit Fried und Freud ich fahr dahin (Purification)E min.atbSATB Hn Fl Ob Oba Str Bc 26: 83 I/28.1: 31after Z 3986; text after Luther 00152
1261.1725-02-04 Cantata Erhalt uns, Herr, bei deinem Wort (Sexagesimae)A min.atbSATB Tr 2Ob Str Bc 26: 111 I/7: 155after Z 350a, 1945b (/6); text after Luther, Jonas, Walter 00153
126/6chorale setting "Verleih uns Frieden gnädiglich" (ss. 1–2)SATB 26: 131 III/2.2: 126
(in g)
after Z 1945b; text by Luther, Walter 11335
1271.1725-02-11 Cantata Herr Jesu Christ, wahr' Mensch und Gott (Estomihi)F maj.stbSATB Tr 2Fl 2Ob Str Bc 26: 133 I/8: 107after Z 2570; text after Eber; /1 → BWV 127/1 (variant) 00154
127/5chorale setting "Herr Jesu Christ, wahr' Mensch und Gott" (s. 8)SATB 26: 160 III/2.1: 46
III/2.2: 169
after Z 2570; text by Eber 11209
127/1 (var.)1.c.1750Chorus "Herr Jesu Christ, wahr' Mensch und Gott" (Passion oratorio movement)E♭ maj.SATB 2Fl 2Ob Str BcI/41: 95after BWV 127/1; → BC D 10 00155
1281.1725-05-10 Cantata Auf Christi Himmelfahrt allein (Ascension)G maj.atbSATB Tr 2Hn 2Ob 2Oba Odc Str Bc 26: 163 I/12: 101after Z 4457 (/1), 5206b (/5); text by Ziegler, C. M., Sonnemann  [ de ] (/1), Avenarius  [ scores ] (/5) 00156
1291.1727-06-08 Cantata Gelobet sei der Herr, mein Gott (Trinity)D maj.sabSATB 3Tr Tmp Fl 2Ob Oba Str Bc 26: 185 I/15: 37after Z 5206b; text by Olearius, J. 00157
129/5chorale setting "Gelobet sei der Herr, mein Gott" (s. 5)SATB 26: 224 III/2.1: 80 11246
chorale setting "O Gott, du frommer Gott"after Z 5206b; text by Heermann
130.11.1724-09-29 Cantata Herr Gott, dich loben alle wir (Michaelmas; 1st version)C maj.satbSATB 3Tr Tmp Fl 3Ob Str Bc 26: 231 I/30: 1after Z 368; text after Eber; → BWV 130.2 00158
130/6chorale setting "Herr Gott, dich loben alle wir" (s. 11)SATB 26: 268 III/2.1: 61
III/2.2: 218
after Z 368; text by Eber 11226
130.21.1732–1735 Cantata Herr Gott, dich loben alle wir (Michaelmas; 2nd version)C maj.satbSATB 3Tr Tmp Fl 3Ob Str BcI/30: 48after BWV 130.1 (same text) 00159
1311.1707 Cantata Aus der Tiefen rufe ich, Herr, zu dir G min.satbSATB Ob Bas Str Bc 28: 1 I/34: 67after Z 4486 (/2, /4); text after Ps. 130, by Ringwaldt (/2, /4); → BWV 131a 00160
1321.1715-12-22 Cantata Bereitet die Wege, bereitet die Bahn (Advent IV)A maj.satbSATB Ob Bas Str Vc Bc 28: 33 I/1: 99
rev 2: 97
text by Franck, S., Cruciger (/6) 00162
1331.1724-12-27 Cantata Ich freue mich in dir (Christmas 3)A maj.satbSATB Cnt 2Oba Str Bc 28: 51 I/3.1: 135Z 5187; text after Ziegler, C. 00163
133/6chorale setting "Ich freue mich in dir" (s. 4)D maj.SATB 28: 80 III/2.1: 44
III/2.2: 34
Z 5187; text by Ziegler, C. 11208
134.31.1731-03-27
1735-04-12
Cantata Ein Herz, das seinen Jesum lebend weiß (Easter 3; later version)B♭ maj.atSATB 2Ob Str Bc 28: 81 I/10: 69after BWV 134.2 00164
134.21.1724-04-11 Cantata Ein Herz, das seinen Jesum lebend weiß (Easter 3; early version)B♭ maj.atSATB 2Ob Str Bc 28: 81, 287 I/10: 106after BWV 134.1; → BWV 134.3 00165
134.11.1719-01-01 Secular cantata Die Zeit, die Tag und Jahre macht (congratulation for New Year)B♭ maj.atSATB 2Ob Str Bc 29: 209 I/35: 49text by Hunold; → BWV 134.2 00166
1351.1724-06-25 Cantata Ach Herr, mich armen Sünder (Trinity III)E min.atbSATB Cnt Tbn 2Ob Str Bc 28: 119 I/16: 197after Z 5385a; text after Schneegaß 00167
1361.1723-07-18 Cantata Erforsche mich, Gott, und erfahre mein Herz (Trinity VIII)A min.atbSATB Hn 2Ob 2Oba Str Bc 28: 137 I/18: 129after Z 2164 (/6); text after Ps 139:23 (/1: → BWV 234/6), by Heermann (/6) 00168
136/6chorale setting "Wo soll ich fliehen hin" (s. 9)B min.SATB 28: 164 III/2.2: 191after Z 2164; text by Heermann 11293
1371.1725-08-19 Cantata Lobe den Herren, den mächtigen König der Ehren (Trinity XII)C maj.satbSATB 3Tr Tmp 2Ob Str Bc 28: 165 I/20: 171after Z 1912a–c; text by Neander; /2 → BWV 650; /5 → 120.2/8 00169
137/5chorale setting "Lobe den Herren, den mächtigen König der Ehren" (s. 5)SATB 28: 196 III/2.1: 56 after Z 1912a–c; text by Neander; → BWV 120.2/8 11220
chorale setting "Hast du denn, Jesu, dein Angesicht gänzlich verborgen"after Z 1912a–c; text by Fritsch
1381.1723-09-05 Cantata Warum betrübst du dich, mein Herz (Trinity XV)B min.satbSATB 2Oba Str Bc 28: 197 I/22: 19after Z 1689a; /4 → BWV 236/3 00170
1391.1724-11-12 Cantata Wohl dem, der sich auf seinen Gott (Trinity XXIII)E maj.satbSATB 2Oba Str Bc 28: 223 I/26: 97after Z 2383; text after Rube  [ fr ] 00171
1401.1731-11-25 Cantata Wachet auf, ruft uns die Stimme (Trinity XXVII)E♭ maj.stbSATB Hn 2Ob Tai Vl Str Bc 28: 249 I/27: 149after Z 8405a, text after Nicolai; /4 → BWV 645 00172
140/7chorale setting "Wachet auf, ruft uns die Stimme" (s. 3)SATB 28: 284 III/2.1: 19
III/2.2: 101
after Z 8405a, text by Nicolai 11183
1431.c.1709–1711? Cantata Lobe den Herrn, meine Seele (New Year)B♭ maj.stbSATB 3Hn Tmp Bas Str Bc 30: 43 I/4: 165
rev 2: 3
after Z 4373; text after Ps 146, by Ebert (/2, /7) 00175
C maj.stbSATB 3Tr Tmp Bas Str Bcrev 2: 119
1441.1724-02-06 Cantata Nimm, was dein ist, und gehe hin (Septuagesima)B min.satSATB 2Ob Oba Str Bc 30: 75 I/7: 1after Z 5629 (/3), 7568 (/6); text after Mt 20:14 (/1), by Rodigast (/3), Albert of Prussia (/6) 00176
144/3chorale setting "Was Gott tut, das ist wohlgetan" (s. 1)G maj.SATB 30: 87 III/2.1: 34
III/2.2: 36
after Z 5629; text by Rodigast 11204
144/6chorale setting "Was mein Gott will, das g'scheh allzeit" (s. 1)B min. 30: 92 III/2.1: 35
III/2.2: 157
after Z 7568; text by Albert of Prussia 11205
145/1–51.1729-04-19 Cantata Ich lebe, mein Herze, zu deinem Ergötzen (Easter 3)D maj.stbSATB Tr Fl 2Ob Str Bc 30: 104 I/10: 111by Bach, C. P. E.?; after Z 1743 (/5); text by Picander, Herman (/5) 00177
145/5chorale setting "Erschienen ist der herrlich Tag" (s. 14)F♯ min.SATB 30: 122 III/2.2: 214by Bach, C. P. E.?; after Z 1743; text by Herman 11321
chorale setting "Erschienen ist der herrlich Tag"E min.III/2.2: 12
145/a1. chorale setting "Auf, mein Herz, des Herren Tag" (s. 1)D maj.SATB (or) Org 30: 93 III/2.2: 195by Bach, C. P. E.; after Z 3432b; text by Neumann 10584
chorale setting "Jesus, meine Zuversicht" by Bach, C. P. E.; after Z 3432b; text by L. H. of Brandenb. 09019
1461.1726-05-12 Cantata Wir müssen durch viel Trübsal (Jubilate)D min.satbSATB Fl 2Ob 2Oba Tai Str Org Bc 30: 123 I/11.2: 65after Z 6551 (/8); text after Acts 14:22 (/2); /1 & /2 ↔ BWV 1052/1 & /2 00179
147.21.1723-07-02 Cantata Herz und Mund und Tat und Leben (Visitation)D maj.satbSATB Tr 2Ob Oba 2Odc Str Bc 30: 191 I/28: 63after BWV 147.1/1–5 (/1, /3, /7, /5, /9), Z 6551 (/6, /10); text by Franck, S. (/1, /3, /7, /5, /9), Janus (/6, /10) 00180
147.11.1716-12-20 Cantata Herz und Mund und Tat und Leben (Advent IV)D maj.satbSATB Tr Ob Str BcI/1text by Franck, S., Kolross (/6); /1–/5 → BWV 147.2/1, /3, /7, /5, /9 00181
1481.1723-09-19 Cantata Bringet dem Herrn Ehre seines Namens (Trinity XVII)D maj.atSATB Tr 2Oba Odc Str Bc 30: 235 I/23: 253after Z 2164 (/6); text after Picander 00182
148/6chorale setting "Wo soll ich fliehen hin"F♯ min.
F min.
SATB 30: 260 III/2.2: 16after Z 2164; text by Heermann 11291
1491.1729-09-29 Cantata Man singet mit Freuden vom Sieg (Michaelmas)D maj.satbSATB 3Tr Tmp 3Ob Bas Str Vne Bc 30: 261 I/30: 97after BWV 208/15 (/1), Z 8326 (/7); text by Picander, Schalling (/7) 00183
149/1a1.Fall 1729Cantata opening: "Concerto" (incomplete; abandoned alternative start of BWV 149?)D maj.SATB 3Tr Tmp 2Ob Str BcI/40
I/30
in SBB P 175; was BWV Anh. 198 01509
1501.1707-07-10 Cantata Nach dir, Herr, verlanget mich (Trinity III)B min.satbSATB Bas 2Vl Bc 30: 301 I/41: 3text after Ps 25 (/2, /4, /6) 00184
1511.1725-12-27 Cantata Süßer Trost, mein Jesus kömmt (Christmas 3)G maj.satbSATB Fl Vl Oba Str Bc 32: 1 I/3.1: 169after Z 198 (/5); text by Lehms, Herman (/5) 00185
151/5chorale setting "Lobt Gott, ihr Christen allzugleich" (s. 8)SATB 32: 16 III/2.2: 30after Z 198; text by Herman 11307
1521.1714-12-30 Cantata Tritt auf die Glaubensbahn (Christmas I)E min.sb Fl Ob Va Vdg Bc 32: 17 I/3.2: 3text by Franck, S.; /1 ↔ BWV 536/2, → 536a/2 00186
1531.1724-01-02 Cantata Schau, lieber Gott, wie meine Feind (Christmas II)A min.atbSATB Str Bc 32: 41 I/4: 199after Z 4431 (/1), 5385a (/5), 533a (/9); text by Denicke (/1), Gerhardt (/5), Moller (/9), after Is 14:10 (/3) 00187
153/1chorale setting "Schau, lieber Gott, wie meine Feind" (s. 1)A min.SATB 32: 43 III/2.2: 3after Z 4431; text by Denicke 11288
chorale setting "Ach Gott, vom Himmel sieh darein"after Z 4431; text by Martin Luther
153/5chorale setting "Befiehl du deine Wege" (s. 5)A min.SATB 32: 46 III/2.2: 14after Z 5385a; text by Gerhardt 11326
chorale setting "Herzlich tut mich verlangen"after Z 5385a; text by Knoll
153/9chorale setting "Ach Gott, wie manches Herzeleid" (ss. 16–18)C maj.SATB 32: 58 III/2.2: 128after Z 533a; text by Moller 11282
1541.1724-01-09 Cantata Mein liebster Jesus ist verloren (Epiphany I)B min.atbSATB 2Oba Str Hc Bc 32: 59 I/5: 89after Z 6551 (/3), 3449 (/8); text by Janus (/3), Keymann (/8), after Lk 2:49; /3 → BWV 359 00188
154/3chorale setting "Jesu, meiner Seelen Wonne" (s. 2)A maj.SATB 32: 65 III/2.1: 87
III/2.2: 137
after Z 6551; text by Janus; → BWV 359 11249
chorale setting "Werde munter, mein Gemüte"after Z 6551; text by Rist
154/8chorale setting "Meinen Jesum lass ich nicht, weil" (s. 6)D maj.SATB 32: 82 III/2.1: 88
III/2.2: 88
after Z 3449; text by Keymann 11251
1551.1716-01-19
1724-01-16
Cantata Mein Gott, wie lang, ach lange? (Epiphany II)D min.satbSATB Bas Str Bc 32: 83 I/5: 173after Z 4430 (/5); text by Franck, S., Speratus (/5) 00189
155/5chorale setting "Es ist das Heil uns kommen her" (s. 12)F maj.SATB 32: 96 III/2.2: 194after Z 4430; text by Speratus 11302
1561.1729-01-23 Cantata Ich steh mit einem Fuß im Grabe (Epiphany III)F maj.satbSATB Ob Str Bc 32: 97 I/6: 91after Z 2383 (/2), 4438 (/6); text by Picander, Schein (/2), Bienemann  [ de ] (/6); /1 ↔ BWV 1056/2 00190
156/6chorale setting "Herr, wie du willt, so schicks mit mir" (s. 1)C maj.SATB 32: 114 III/2.2: 185after Z 4438; text by Bienemann  [ de ] 11294
157.21.after 1727-02-06 Cantata Ich lasse dich nicht, du segnest mich denn (funeral; later: Purification)B min.tbSATB Fl Ob Oba Va 2Vl Bc 32: 115 I/34: 41after Z 3449 (/5), BWV 157.1 (same text) 00191
157.11.1727-02-06 Cantata Ich lasse dich nicht, du segnest mich denn (funeral)tbSATB Fl Oba Va BcI/34text by Picander, Keymann (/5), after Gen 32:27 (/1); → BWV 157.2 11366
1581.c.1725–1735 Cantata Der Friede sei mit dir (Purification; later: Easter 3)D maj.sbSATB Ob Vl Bc 32: 141 I/10: 129after Z 6531 (/2), 7012a (/4); text by Albinus (/2), Luther (/4; ↔ BWV 279) 00192
158/4chorale setting "Christ lag in Todes Banden" (s. 5)E min.SATB 32: 154 III/2.1: 24
III/2.2: 155
after Z 7012a; text by Luther; ↔ BWV 279 11187
1591.1729-02-27 Cantata Sehet, wir gehn hinauf gen Jerusalem (Estomihi)C min.satbSATB Ob Str Bc 32: 155 I/8: 153after Z 5385a (/2), 6288a–b (/5); text by Picander, Gerhardt (/2), Stockmann (/5), after Lk 18:31 (/1), Jh 19:30 (/4) 00193
159/5chorale setting "Jesu Leiden, Pein und Tod" (s. 33)E♭ maj.SATB 32: 168 III/2.1: 41
III/2.2: 33
after 6288a–b; text by Stockmann 11206
1611.1716-09-27 Cantata Komm, du süße Todesstunde (Trinity XVI; 1st version)C maj.atSATB 2Fl Str Org Bc 33: 1 I/23: 1, 33after Z 5385a; text by Franck, S., Knoll; → BWV 161, v2 00195
161/6chorale setting "Herzlich tut mich verlangen" (s. 4)A min.SATB 33: 27 III/2.1: 29
III/2.2: 160
after Z 5385a; text by Knoll 11194
chorale setting "Befiehl du deine Wege"after Z 5385a; text by Gerhardt
161, v21.1723–1750? Cantata Komm, du süße Todesstunde (Trinity XVI; 2nd version)C maj.satSATB 2Fl Str BcI/23: 33after BWV 161; text by Franck, S., Knoll 00196
162.11.1716-10-25 Cantata Ach! ich sehe, itzt, da ich zur Hochzeit gehe (Trinity XX)A min.satbSATB Str BcI/25: 1after Z 6783 (/6); text by Franck, S., Rosenmüller (/6); → BWV 162.2 00197
162.21.1723-10-10 Cantata Ach! ich sehe, itzt, da ich zur Hochzeit gehe (Trinity XX)B min.satbSATB Hn Str Bc 33: 29
(in a)
I/25: 23after BWV 162.1 (same text) 11367
1631.1715-11-24 Cantata Nur jedem das Seine (Trinity XXIII)B min.satbSATB Str 2Vc Bc 33: 47 I/26: 77after Z 3449 (/5), 2177 (/6); text by Franck, S., Heermann (/6) 00198
164