Lists of |
Compositions by Johann Sebastian Bach |
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Masses, Passions, Oratorios is the subject of the second series of the Neue Bach-Ausgabe (NBA, New Bach Edition), [1] a publication of Johann Sebastian Bach's music from 1954 to 2007. In the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions) masses, passions and oratorios refers to two chapters:
In the BWV, as in Series II of the NBA, the group thus also includes Bach's Magnificat and separate mass movements.
Further the second series of the NBA and/or the 1998 updated edition of the BWV (BWV2a) group some new additions to the BWV catalogue with the masses, passions and oratorios (e.g. Tilge, Höchster, meine Sünden, BWV 1083, Bach's adaptation of Pergolesi's Stabat Mater), and regroup some compositions that were formerly associated with other genres in the masses, passions and oratorios group (e.g. BWV 11, published as a cantata in the 19th century, added to the group as an oratorio).
Also various items in the BWV Anhang (BWV Anh., annex to the BWV), or even unmentioned in the BWV (BWV deest, lacking a BWV number) are associated with this group, for instance the motet Der Gerechte kömmt um , BC C 8, arranged, probably by Bach, from the Tristis est anima mea motet attributed to Johann Kuhnau. Such compositions or movements usually have a Bach Digital Work (BDW) page at the www
column | content | |
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1 | BWV | Bach-Werke-Verzeichnis (lit. 'Bach-works-catalogue'; BWV) numbers. Anhang (Annex; Anh.) numbers are indicated as follows: |
2 | 2a | Section in which the composition appears in BWV2a:
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3 | Date | Date 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. |
4 | Name | Name 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, ...) |
5 | Key | Key of the composition |
6 | Scoring | See scoring table below for the abbreviations used in this column |
7 | BG | 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. [27] |
8 | NBE | 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: [28]
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9 | Additional info | may include:
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. |
10 | BD | Bach Digital Work page |
Voices (see also SATB) | ||||||||||||
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a | A | b | B | s | S | t | T | v | V | |||
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) | ||||||||||||
Bas | Bel | Cnt | Fl | Hn | Ob | Oba | Odc | Tai | Tbn | Tdt | Tmp | Tr |
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) | ||||||||||||
Bc | Hc | Kb | Lu | Lw | Org | Str | Va | Vc | Vdg | Vl | Vne | |
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 |
Colour | Meaning |
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green | extant or clearly documented partial or complete manuscript (copy) by Bach and/or first edition under Bach's supervision |
yellow | extant 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-brown | extant or clearly documented manuscript (copy) by close friend and/or pupil (Kellner, Krebs, Kirnberger, Walther, ...), or distant family member |
BWV | 2a | Date | Name | Key | Scoring | BG | NBE | Additional info | BD |
---|---|---|---|---|---|---|---|---|---|
3. | Masses, Mass movements, Magnificat (see also: List of Masses, Mass movements and Magnificats by Johann Sebastian Bach) | Up ↑ | |||||||
232 | 3. | Aug. 1748 – Oct. 1749 (compilation, completion) | Mass a.k.a. Hohe Messe , Mass in B minor | B min. | ssatbSSAATB 3Tr Tmp Hn 2Fl 3Ob 2Oba 2Bas Vl Str Bc | 6 | II/1 rev 1 | after BWV 232I e. v., II e. v., III e. v., 171/1, 12/2, 120/2, Anh. 11/1, Anh. 196/3; text after Ordinarium Missae | 00289 |
232I e. v. | 3. | 1733-07-27 | Kyrie–Gloria Mass for the Dresden court (Mass in B Minor, Part I: Missa; early version) | B min. | ssatbSSATB 3Tr Tmp Hn 2Fl 2Oba 2Bas Vl Str Bc | II/1a | after BWV 29/1, 46/1; text from Ordinarium Missae; → BWV 191, 232 I | 00290 | |
233 | 3. | 1738–1739? | Kyrie–Gloria Mass | F maj. | sabSATB 2Hn 2Ob Bas Str Bc | 8: 1 | II/2: 197 | after BWV 233a, 102/3, /5, 40/1; text from Ordinarium Missae | 00291 |
233a | 3. | 1708-04-06? | Kyrie "Christe, du Lamm Gottes" | F maj. | SSATB Bc | 41: 187 | II/2: 285 | text after Ordinarium Missae; → BWV 233/1 | 00292 |
234 | 3. | c.1738 | Kyrie–Gloria Mass | A maj. | sabSATB 2Fl Str Bc | 8: 51 | II/2: 1 | after BWV 67/6, 138/5, 179/5, 79/2; text from Ordinarium Missae | 00293 |
235 | 3. | 1738–1739? | Kyrie–Gloria Mass | G min. | atbSATB 2Ob Str Bc | 8: 99 | II/2: 127 | after BWV 102/1, 72/1, 187/4, /3, /5, /1; text from Ordinarium Missae | 00294 |
236 | 3. | 1738–1739? | Kyrie–Gloria Mass | G maj. | satbSATB 2Ob Str Bc | 8: 155 | II/2: 61 | after BWV 179/1, /3, 79/1, /5, 138/5, 17/1; text from Ordinarium Missae | 00295 |
1081 | 3. | c.1747 – Aug. 1748 | Credo intonation for Mass No. 5 in F major of G. B. Bassani's Acroama Missale | F maj. | SATB Bc | II/2 | → BNB I/B/48; text from Credo | 01267 | |
237 | 3. | 1723-06-24? | Sanctus | C maj. | SATB 3Tr Tmp 2Ob Str Bc | 111: 67 | II/2: 311 | text from Sanctus | 00296 |
238 | 3. | 1723-12-25 1736–1737 | Sanctus | D maj. | SATB Cnt Str Bc | 111: 79 | II/2: 325 | text from Sanctus | 00297 |
240 | 3. | 1742 (JSB) | Sanctus | G maj. | SATB 2Ob Str Bc | 111: 93 | II/9: 3 | text from Sanctus | 00299 |
241 | 3. | Jul. 1747 – Aug. 1748 (JSB) | Sanctus of Missa superba | D maj. | 2SATB 2Oba 2Vl 3Va Bas Vc Vne Bc | 41: 177 | II/9: 45 | after Kerll; text from Sanctus | 00300 |
242 | 3. | 1727–1732 (JSB) | Christe eleison for a Kyrie-Gloria Mass in C minor by F. Durante | G min. | SA Bc | 41: 197 | II/2: 295 | text from Kyrie; → BWV Anh. 26/2 | 00301 |
243.2 | 3. | 1733-07-02? 1732–1735 | Magnificat (2nd version: Visitation?) | D maj. | ssatbSSATB 3Tr Tmp 2Fl 2Ob 2Oba Str Bas Vc Vne Bc | 111: 1 | II/3: 65 | after BWV 243.1 (same text) | 00302 |
243.1 | 3. | 1723-07-02 1723-12-25 | Magnificat (1st version:Visitation, and with 4 laudes added: Christmas) | E♭ maj. | ssatbSSATB 3Tr Tmp 2Fl 2Ob Str Bc | 111: 103 | II/3: 1 | after Magnificat peregrini toni (/10); text: Magnificat; → BWV 243.2 | 00303 |
1082 | 3. | 1740–1742 (JSB) | Suscepit Israel from a Magnificat by A. Caldara | E min. | SATB 2Vl Bc | II/9: 59 | after Caldara (BNB I/C/1); text from Magnificat | 01268 | |
1083 | 3. | 1745–1747 (JSB) | Cantata Tilge, Höchster, meine Sünden | sa 2Vl Str Vne Vc Bc | I/41: 169 | after Pergolesi (Stabat Mater); text after Ps. 51 | 01269 | ||
4. | Passions, Oratorios (see also: List of Passions and Oratorios by Johann Sebastian Bach) | Up ↑ | |||||||
244.2 | 4. | 1736-03-30 1742 1743–1746 | Passion St Matthew Passion (later versions; Good Friday) | E min. | 2satb2SATB 2Fl 4Fl 4Ob 4Oba 2Odc 2Str 2Vdg 2Bc | 4 44: 58 | II/5 | after BWV 244.1, 245.2 (/29); text by Picander, Decius (/1), Heermann (/3, /19, /46), Gerhardt (/10, /15, /17, /37, /44, /54, /62), Albert of Prussia (/25), Heyden (/29), Reusner (/32), Rist (/40), after Mt 26–27, Sng 6:1 (/30) | 00304 |
244a | see BWV 1143 | 00305 | |||||||
244.1 | 4. | 1727-04-11 | Passion St Matthew Passion (early version; Good Friday) | E min. | satb2SATB 4Fl 4Ob 4Oba 2Odc 2Str Lu Bc | II/5a II/5b | after Z 4361a (/1), 983 (/3, /19, /46), 2293b (/10, /37), 5385a (/15, /17, /44, /54, /62), 7568 (/25), 3449 (/29), 2461c (/32), 6551 (/40); text by Picander, Heermann (/3, /19, /46), Gerhardt (/10, /15, /17, /37, /44, /54, /62), Albert of Prussia (/25), Keymann (/29), Reusner (/32), Rist (/40), after Mt 26–27, Sng 6:1 (/30); ↔ BWV 198, 1143; → BWV 244.2 | 00306 | |
244/3 | chorale setting "Herzliebster Jesu" (s. 1) | B min. | SATB | 4: 23 | III/2.2: 43 | after Z 983; text by Heermann | 11349 | ||
244/10 | chorale setting "O Welt, sieh hier dein Leben" (s. 5) | A♭ maj. | SATB | 4: 42 | III/2.2: 66 | after Z 2293b; text by Gerhardt | 11351 | ||
chorale setting "Nun ruhen alle Wälder" | |||||||||
244/15 | chorale setting "O Haupt voll Blut und Wunden" (s. 5) | E maj. D maj. | SATB | 4: 51 | III/2.2: 55 | after Z 5385a; text by Gerhardt | 11358 | ||
244/17 | chorale setting "O Haupt voll Blut und Wunden" (s. 6; in BWV 244.1: s. 7?) | E♭ maj. D maj. | 4: 53 | ||||||
244/25 | chorale setting "Was mein Gott will, das gscheh allzeit" (s. 1) | B min. | SATB | 4: 83 | III/2.2: 64 | after Z 7568; text by Albert of Prussia | 11353 | ||
244/32 | chorale setting "In dich hab ich gehoffet, Herr" (s. 5) | B♭ maj. | SATB | 4: 151 | III/2.2: 66 | after Z 2461c; text by Reusner | 11354 | ||
244/37 | chorale setting "O Welt, sieh hier dein Leben" (s. 3) | F maj. | SATB | 4: 164 | III/2.2: 29 | after Z 2293b; text by Gerhardt | 11352 | ||
chorale setting "In allen meinen Taten" | after Z 2293b; text by Fleming | ||||||||
244/40 | chorale setting "Werde munter, mein Gemüte" (s. 6) | A maj. | SATB | 4: 173 | III/2.1: 95 III/2.2: 68 | after Z 6551; text by Rist | 11254 | ||
chorale setting "Jesu, meiner Seelen Wonne" | after Z 6551; text by Janus | ||||||||
244/44 | chorale setting "Befiehl du deine Wege" (s. 1) | D maj. | SATB | 4: 186 | III/2.2: 49 | after Z 5385a; text by Gerhardt | 11355 | ||
chorale setting "O Haupt voll Blut und Wunden" | |||||||||
244/46 | chorale setting "Herzliebster Jesu" (s. 4) | B min. | SATB | 4: 192 | III/2.2: 59 | after Z 983; text by Heermann | 11350 | ||
244/54 | chorale setting "O Haupt voll Blut und Wunden" (ss. 1–2) | F maj. | SATB | 4: 214 | III/2.2: 41 | after Z 5385a; text by Gerhardt | 11356 | ||
244/62 | chorale setting "O Haupt voll Blut und Wunden" (s. 9) | A min. B min. | SATB | 4: 248 | III/2.2: 50 | 11357 | |||
245.1 | 4. | 1724-04-07 | Passion St John Passion (1st version; Good Friday) | G min. | satbSATB (2Fl?) 2Ob 2Odc Str 2Va Vdg Lu Bc | 121 44: 26 | II/4: 40 | after Z 983 (/3, /17), 2561 (/5), 2293b (/11), 6288a–b (/14, /28, /32), 6283b (/15, /37), 2383 (/22), 5404a (/26), 8326 (/40); text after Jh 18–19, Mt 26:75 (/12), Mk 15:38 (/33), by Heermann (/3, /17), Luther (/5), Brockes (/7, /19, /20, /24, /32, /34, /35, /39), Gerhardt (/11), Weise (/13), Stockmann (/14, /28, /32), Weiße (/15, /37), Postel (/19, /22, /30), Herberger (/26), Schalling (/40); → BWV 245.2–5 | 00307 |
245.1/3 | chorale setting "Herzliebster Jesu" (s. 7) | G min. | SATB | III/2.1: 93 | after Z 983; text by Heermann | 11255 | |||
245/3 | c. 1740 | 121: 17 | III/2.2: 33 | ||||||
245.1/5 | 1724-04-07 | chorale setting "Vater unser im Himmelreich" (s. 4) | D min. | SATB | III/2.1: 94 III/2.2: 27 | after Z 2561; text by Luther after Mt 6:9–13; ↔ BWV 416 | 11256 | ||
245/5 | c. 1740 | 121: 18 | after Z 2561; text by Luther after Mt 6:9–13 | ||||||
245/11 | 1724-04-07 | chorale setting "O Welt, sieh hier dein Leben" (ss. 3–4) | A maj. | SATB | 121: 31 | III/2.1: 94 III/2.2: 35 | after Z 2293b; text by Gerhardt; → BWV 395 | 11257 | |
chorale setting "Nun ruhen alle Wälder" | |||||||||
245/14 | chorale setting "Jesu Leiden, Pein und Tod" (s. 10) | A maj. | SATB | 121: 39 | III/2.2: 46 | after Z 6288a–b; text by Stockmann | 11273 | ||
245/15 | chorale setting "Christus, der uns selig macht" (s. 1) | A min. | SATB | 121: 43 | III/2.2: 44 | after Z 6283b; text by Weiße after "Patris sapientia" | 11274 | ||
245/17 | chorale setting "Herzliebster Jesu" (ss. 8–9) | A min. | SATB | 121: 52 | III/2.1: 95 III/2.2: 62 | after Z 983; text by Heermann | 11258 | ||
245/22 | chorale setting "Durch dein Gefängnis Gottes Sohn" | E maj. | SATB | 121: 74 | III/2.2: 181 | after Z 2383; text by Postel | 11275 | ||
chorale setting "Machs mit mir, Gott, nach deiner Güt" | after Z 2383; text by Schein | ||||||||
245/26 | chorale setting "Valet will ich dir geben" (s. 3) | E♭ maj. | SATB | 121: 95 | III/2.1: 96 III/2.2: 60 | after Z 5404a; text by Herberger | 11259 | ||
245/28 | chorale setting "Jesu Leiden, Pein und Tod" (s. 20) | A maj. | SATB | 121: 103 | III/2.2: 59 | after Z 6288a–b; text by Stockmann | 11276 | ||
245/37 | chorale setting "Christus, der uns selig macht" (s. 8) | B♭ min. | SATB | 121: 121 | III/2.2: 63 | after Z 6283b; text by Weiße after "Patris sapientia" | 11277 | ||
245/40 | chorale setting "Herzlich lieb hab ich dich, o Herr" (s. 3) | E♭ maj. | SATB | 121: 131 | III/2.2: 60 | after Z 8326; text by Schalling | 11278 | ||
245.2 | 4. | 1725-03-30 | Passion St John Passion (2nd version; Good Friday) | E♭ maj. | satbSATB 2Fl 2Ob 2Odc Str Vdg Bc | 121 | II/4: 167 | after Z 8303 (/1), BWV 245.1, 23/4 (/40); text by Heyden (/1), Heermann (/3, /17), Luther (/5, /40), Brockes (/7, /24, /32, /34, /35, /39), Gerhardt (/11), Birkmann (a, b, c) Stockmann (a, /14, /28, /32), Weiße (/15, /37), Postel (/22, /30), Herberger (/26), after Jh 18–19, Mt 26:75 (/12), Mt 27:51 (/33); → BWV 245.3; /1 → BWV 244.2/29, | 00308 |
245.3 | 4. | 1732-04-11 | Passion St John Passion (3rd version; Good Friday) | satbSATB 2Fl 2Ob Str Vdg Org Bc | 121 44: 26 | II/4: 206 | after BWV 245.1–.2; text after Jh 18–19, by Heermann (/3, /17), Luther (/5), Brockes (/7, /19, /20, /24, /32, /39), Gerhardt (/11), Stockmann (/14, /28, /32), Weiße (/15, /37), Postel (/19, /22, /30), Herberger (/26); → BWV 245.4–5 | 00309 | |
245.4 | 4. | 1739 | Passion St John Passion (incomplete revision) | satbSATB Fl 2Ob Str Bc | 121 44: 26 | II/4 | after BWV 245.1–.3; text by Heyden (/1), Heermann (/3), Luther (/5), after Jh 18; → BWV 245.5 | 11076 | |
245.5 | 4. | 1749-04-04 | Passion St John Passion (4th version; Good Friday) | satbSATB 2Fl 2Ob 2Oba Odc Bas Str Vdg Hc Bc | 121 44: 26 | II/4 | after BWV 245.1–4; text after Jh 18–19, Mt 26:75 (/12), Mt 27:51 (/33), by Heermann (/3, /17), Luther (/5), Brockes (/7, /19, /24, /32, /34, /35, /39), Gerhardt (/11), Weise (/13), Stockmann (/14, /28, /32), Weiße (/15, /37), Postel (/19, /22, /30), Herberger (/26), Schalling (/40) | 00310 | |
246/40a | 4. | 1743–1745 (JSB) | Chorale Aus der Tiefen rufe ich, No. 40 of St Luke Passion | t Str Bc (?) | II/9: 65 | after BWV 246/40 | 00312 | ||
247 | 4. | 1731-03-23 1744-04-03 | Passion St Mark Passion (Good Friday; music lost but in part reconstructable) | satbSATB 2Fl 2Ob 2Oba 2Vl 2Va (2Vdg 2Lu) Org Bc (?) | II/5 | text by Picander, Jonas, Reusner, Gerhardt, Rist, Kritzelmann , Schein, Stockmann, Franck, J., Homburg , Luther, Spee; after BWV 198/1, /5, /3, /8, /10 (or 244a/7), 54/1, 248/28?, /45, 7/2? | 00313 | ||
1088 | 4. | c.1750? | Arioso So heb ich denn mein Auge sehnlich auf, No. 20 in Passion Oratorio Wer ist der, so von Edom kömmt (Good Friday) | b 2Bas Bc (?) | I/41: 125 | 01274 | |||
248 | 4. | 1734-12-25 – 1735-01-06 | Oratorio Christmas Oratorio (Christmastide) | D maj. | satbSATB 3Tr 2Hn Tmp 2Fl 2Ob 2Oba 2Odc Str Bc | 51 44: 125 | II/6 | after BWV 214 (/1, /8, /15, /24), 213 (/4, /19, /29, /36, /39, /41), 215 (/47), 248VIa (/54, /56–/57, /61–/64), Z 5385a (/5, /64), 1947 (/7, /28), 346 (/9, /17, /23), 5741b (/12), 6462 (/33), 2072 (/35), 2461c (/46), 3614b (/53), 4429a (/59); text by Picander?, Gerhardt (/5, /17, /23, /33, /59), Luther (/7, /9, /28), Rist (/12, /38, /40, /42), Runge (/35), Weissel (/46), Franck, J. (/53), Werner (/64), after Lk 2:1–21, Mt 2:1–12 | 00314 |
248I | 4. | 1734-12-25 | Cantata Jauchzet, frohlocket, auf, preiset die Tage ( Christmas Oratorio , Part I; Christmas) | D maj. | satbSATB 3Tr Tmp 2Fl 2Ob 2Oba Str Bc | 51: 2 44: 125 | II/6: 1 | after BWV 214/1 & /7 (/1 & /8), 213/9 (/4), Z 5385a (/5), 1947 (/7), 346 (/9); text by Picander?, Gerhardt (/5), Luther (/7, /9), after Lk 2:1, 3–7 | 11385 |
248/5 | chorale setting "Wie soll ich dich empfangen" (s. 1) | A min. | SATB | 51: 36 | III/2.2: 199 | after Z 5385a; text by Gerhardt | 11279 | ||
chorale setting "O Haupt voll Blut und Wunden" | |||||||||
248/9 | chorale setting "Vom Himmel hoch da komm ich her" (s. 13) | D maj. | SATB | 51: 47 | III/2.2: 26 | after Z 346; text by Luther | 11280 | ||
248II | 4. | 1734-12-26 | Cantata Und es waren Hirten in derselben Gegend ( Christmas Oratorio , Part II; Christmas 2) | G maj. | satbSATB 2Fl 2Oba 2Odc Str Bc | 51: 50 44: 126 | II/6: 55 | after Z 5741b (/3), 346 (/8, /14), BWV 214/5 (/6), 213/3 (/10); text by Picander?, Rist (/3), Gerhardt (/8, /14), after Lk 2: 8–14 | 11386 |
248/12 | chorale setting "Ermuntre dich, mein schwacher Geist" (s. 9) | G maj. | SATB | 51: 59 | III/2.1: 83, 92 III/2.2: 7, 207 | after Z 5741b; text by Rist | 11260 | ||
chorale setting "Du Lebensfürst, Herr Jesu Christ" | |||||||||
248/17 | chorale setting "Schaut, schaut, was ist für Wunder dar" (s. 8) | C maj. | SATB | 51: 66 | III/2.1: 84 | after Z 346; text by Gerhardt | 11261 | ||
chorale setting "Vom Himmel hoch da komm ich her" | after Z 346; text by Luther | ||||||||
248/23 | chorale setting "Wir singen dir, Immanuel" (s. 2) | G maj. | SATB | 51: 90 | III/2.2: 198 | after Z 346; text by Gerhardt | 11281 | ||
chorale setting "Vom Himmel hoch da komm ich her" | after Z 346; text by Luther | ||||||||
248III | 4. | 1734-12-27 | Cantata Herrscher des Himmels, erhöre das Lallen ( Christmas Oratorio , Part III; Christmas 3) | D maj. | satbSATB 3Tr Tmp 2Fl 2Ob 2Oba Str Bc | 51: 94 | II/6: 107 | after BWV 214/9 (/1=/13), 213/11 (/6), Z 1947 (/5), 6462 (/10), 2072 (/12); text by Picander?, Luther (/5), Gerhardt (/10), Runge (/12), after Lk 2: 15–20 | 11387 |
248/28 | chorale setting "Gelobet seist du, Jesu Christ" (s. 7) | D maj. | SATB | 51: 110 | III/2.1: 85 | after Z 1947; text by Luther | 11262 | ||
248/33 | chorale setting "Fröhlich soll mein Herze springen" (s. 15) | G maj. | SATB | 51: 124 | III/2.1: 86 III/2.2: 81 | after Z 6462; text by Gerhardt | 11264 | ||
chorale setting "Warum sollt ich mich denn grämen" | |||||||||
248/35 | chorale setting "Laßt Furcht und Pein" (s. 4) | F♯ min. | SATB | 51: 126 | III/2.1: 86 III/2.2: 206 | after Z 2072; text by Runge | 11263 | ||
chorale setting "Wir Christenleut" | after Z 2072; text by Füger | ||||||||
248IV | 4. | 1735-01-01 | Cantata Fallt mit Danken, fallt mit Loben ( Christmas Oratorio , Part IV; New Year) | F maj. | satbSATB 2Hn 2Ob Str Bc | 51: 128 | II/6: 143 | after BWV 213/1, /5, /7 (/1, /4, /6); text by Picander?, Rist (/3, /5, /7), after Lk 2: 21 | 11388 |
248/42 | chorale setting "Hilf, Herr Jesu, laß gelingen" (s. 15) | SATB | 51: 166 | III/2.1: 99 III/2.2: 211 | text by Rist | 11266 | |||
chorale setting "Jesu, meiner Seelen Wonne" | text by Janus | ||||||||
248V | 4. | 1735-01-02 | Cantata Ehre sei dir, Gott, gesungen ( Christmas Oratorio , Part V; New Year I) | A maj. | satbSATB 2Oba Str Bc | 51: 172 | II/6: 199 | after BWV 247/39b (/3), 215/7 (/5), Z 2461c (/4), 3614b (/11); text by Picander?, Weissel (/4), Franck, J. (/11), after Mt 2:1–6 | 11389 |
248/46 | chorale setting "Nun, liebe Seel, nun ist es Zeit" (s. 5) | SATB | 51: 190 | III/2.1: 87 III/2.2: 43 | after Z 2461c; text by Weissel | 11265 | |||
chorale setting "In dich hab ich gehoffet, Herr" | after Z 2461c; text by Reusner | ||||||||
248/53 | chorale setting "Ihr Gestirn, ihr hohlen Lüfte" (s. 9) | SATB | 51: 208 | III/2.1: 100 III/2.2: 21 | after Z 3614b; text by Franck, J. | 11267 | |||
chorale setting "Gott des Himmels und der Erden" | after Z 3614b; text by Albert | ||||||||
248VI | 4. | 1735-01-06 | Cantata Herr, wenn die stolzen Feinde schnauben ( Christmas Oratorio , Part VI; Epiphany) | D maj. | satbSATB 3Tr Tmp 2Ob 2Oba Str Bc | 51: 210 | II/6: 243 | after BWV 248VIa (/1, /3, /4, /8–/11), Z 4429a (/6), 5385a (/11); text by Picander?, Gerhardt (/6), Werner (/11), after Mt 2:7–12 | 11390 |
248/59 | chorale setting "Ich steh an deiner Krippen hier" (s. 1) | G maj. | SATB | 51: 245 | III/2.1: 84 III/2.2: 208 | after 4429a; text by Gerhardt | 11268 | ||
chorale setting "Es ist gewisslich an der Zeit" | after 4429a; text by Ringwaldt | ||||||||
248/64 | chorale setting "Ihr Christen auserkoren" (s. 4) | D maj. | SATB | 51: 256 | III/2.1: 85 | after 5385a; text by Werner | 11269 | ||
chorale setting "Ach Herr, mich armen Sünder" | after 5385a; text by Schneegaß | ||||||||
248VIa | 4. | 1734 or earlier | Cantata model for BWV 248VI | D maj. | satbSATB 3Tr Tmp 2Ob 2Oba Str Bc | II/6 | after BWV Anh. 10/1; → 248/54, /56–/57, /61–/64 | 00315 | |
249.5 | 4. | 1743–1746 1749-04-06 1750-03-26 | Oratorio Kommt, eilet und laufet ( Easter Oratorio ; Easter) | satbSATB 3Tr Tmp Fl 2Fl 2Ob Oba Str Bc | 213 | II/7: 1 | after BWV 249.4; text by Picander? | 00316 | |
249.4 | 4. | c. 1738 | Oratorio Kommt, eilet und laufet ( Easter Oratorio , middle version; Easter) | satbSATB 3Tr Tmp Fl 2Fl 2Ob Oba Str Bc | II/7 | after BWV 249.3; text by Picander?; → BWV 249.5 | 11392 | ||
249.3 | 4. | 1725-04-01 c.1738 | Cantata Kommt, fliehet und eilet ( Easter Oratorio , early versions: first version as cantata; Easter) | satbSATB 3Tr Tmp Fl 2Fl 2Ob Oba Vl Str Bc | II/7: 97 | after BWV 249.1; text by Picander?; → BWV 249.4 | 00317 | ||
249.1 | 4. | 1725-02-23 | Secular cantata Entfliehet, verschwindet, entweichet, ihr Sorgen, a.k.a. Shepherd Cantata (birthday of Christian of Saxe-Weissenfels; music lost but in part reconstructable) | satbSATB 3Tr Tmp Fl 2Fl 2Ob Str Bc | I/35 | text by Picander; → BWV 249.3/1–/3, /5, /7, /9, /11; 249.2 | 00318 | ||
249.2 | 4. | 1726-08-25 | Secular cantata Verjaget, zerstreuet, zerrüttet, ihr Sterne a.k.a. Die Feier des Genius (dramma per musica; birthday of Joachim Friedrich von Flemming ; music lost but in part reconstructable) | I/39 | after BWV 249.1/1–/3, /5, /7, /9, /11; text by Picander | 00319 | |||
11 | 4. | 1738-05-15 | Oratorio Lobet Gott in seinen Reichen ( Ascension Oratorio ; Ascension) | D maj. | satbSATB 3Tr Tmp 2Fl 2Ob Str Bc | 2: 1 | II/8: 1 | after Z 5741b (/6), 5264b (/9); text by Picander?, Rist (/6), Sacer (/9), after Lk 24:50ff., Acts 1:9–12, Mk 16:19 | 00013 |
11/6 | chorale setting "Nun lieget alles unter dir" (= "Du Lebensfürst, Herr Jesu Christ", s. 4) | SATB | 2: 32 | III/2.2: 198 | after Z 5741b; text by Rist | 11299 |
The Mass in B minor, BWV 232, is an extended setting of the Mass ordinary by Johann Sebastian Bach. The composition was completed in 1749, the year before the composer's death, and was to a large extent based on earlier work, such as a Sanctus Bach had composed in 1724. Sections that were specifically composed to complete the Mass in the late 1740s include the "Et incarnatus est" part of the Credo.
The Bach-Werke-Verzeichnis is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990. An abbreviated version of that second edition, known as BWV2a, was published in 1998.
Johann Ludwig Bach was a German composer and violinist.
In 1724 Johann Sebastian Bach composed the church cantata Meine Seel erhebt den Herren, BWV 10, as part of his second cantata cycle. Taken from Martin Luther's German translation of the Magnificat canticle, the title translates as "My soul magnifies the Lord". Also known as Bach's German Magnificat, the work follows his chorale cantata format.
Throughout his life as a musician, Johann Sebastian Bach composed cantatas for both secular and sacred use. His church cantatas are cantatas which he composed for use in the Lutheran church, mainly intended for the occasions of the liturgical year.
Missa brevis usually refers to a mass composition that is short because part of the text of the Mass ordinary that is usually set to music in a full mass is left out, or because its execution time is relatively short.
Johann Sebastian Bach's Magnificat, BWV 243, is a musical setting of the biblical canticle Magnificat. It is scored for five vocal parts, and a Baroque orchestra including trumpets and timpani. It is the first major liturgical composition on a Latin text by Bach.
Johann Sebastian Bach was a German composer and musician of the late Baroque period. He is known for his orchestral music such as the Brandenburg Concertos; instrumental compositions such as the Cello Suites; keyboard works such as the Goldberg Variations and The Well-Tempered Clavier; organ works such as the Schubler Chorales and the Toccata and Fugue in D minor; and vocal music such as the St Matthew Passion and the Mass in B minor. Since the 19th-century Bach revival he has been generally regarded as one of the greatest composers in the history of Western music.
The cantatas composed by Johann Sebastian Bach, known as Bach cantatas, 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.
Most of Johann Sebastian Bach's extant church music in Latin—settings of the Mass ordinary and of the Magnificat canticle—dates from his Leipzig period (1723–50). Bach started to assimilate and expand compositions on a Latin text by other composers before his tenure as Thomaskantor in Leipzig, and he continued to do so after he had taken up that post. The text of some of these examples by other composers was a mixture of German and Latin: also Bach contributed a few works employing both languages in the same composition, for example his early Kyrie "Christe, du Lamm Gottes".
Bach's Missa of 1733, BWV 232 I, is a Kyrie–Gloria Mass in B minor, composed in 1733 by Johann Sebastian Bach. It is an extended missa brevis consisting of a Kyrie in three movements and a Gloria in nine movements. Bach started to compose it, partly based on earlier work, after the death of his sovereign Augustus the Strong, dedicating it to the latter's son and successor, Frederick August II, in a letter dated 27 July 1733. At the time, Bach was in his tenth year as Lutheran church musician in Leipzig, while the Catholic court of the sovereign Elector of Saxony was located in Dresden. Bach sent performance parts of his Missa to Dresden while he kept the autograph score in Leipzig. Upon arrival in Dresden, the Mass was not added to the repertoire of the Catholic court chapel, but instead the parts, and Bach's dedication letter, were archived in the sovereign's library.
Georg Melchior Hoffmann was a Baroque composer who was influential as the leader at the Collegium Musicum in Leipzig. Some of his compositions have been mistaken for those of Johann Sebastian Bach.
Apart from the 1733 Mass for the Dresden court, Johann Sebastian Bach wrote four further Kyrie–Gloria Masses, BWV 233–236. These compositions, consisting of the first two sections of the Mass ordinary, have been indicated as Missae breves or Lutheran Masses. They seem to have been intended for liturgical use, considering a performance time of about 20 minutes each, the average duration of a Bach cantata. They may have been composed around 1738/39. Possibly they were written for Count Franz Anton von Sporck or performed by him in Lysá.
The Kyrie–Gloria Mass for double choir, BWV Anh. 167, is a mass composition in G major by an unknown composer. The work was likely composed in the last quarter of the 17th century. The composition has two sections, a Kyrie and a Gloria, each subdivided in three movements. It has twenty-two parts for performers: twelve parts for singers, and ten for instrumentalists, including strings, wind instruments and organ. Johann Sebastian Bach may have encountered the work around 1710, when he was employed in Weimar. In the 1730s he produced a manuscript copy of the Mass.
Johann Sebastian Bach worked at the ducal court in Weimar from 1708 to 1717. The composition of cantatas for the Schlosskirche on a regular monthly basis started with his promotion to Konzertmeister in March 1714.
Late church cantatas by Johann Sebastian Bach refers to sacred cantatas he composed after his fourth cycle of 1728–29. Whether Bach still composed a full cantata cycle in the last 20 years of his life is not known, but the extant cantatas of this period written for occasions of the liturgical year are sometimes referred to as his fifth cycle, as, according to his obituary, he would have written five such cycles – inasmuch as such cantatas were not late additions to earlier cycles, or were adopted in his oratorios.
Und es waren Hirten in derselben Gegend, BWV 248II, is a 1734 Christmas cantata by Johann Sebastian Bach as the second part of his Christmas Oratorio. Bach was then Thomaskantor, responsible for music at four churches in Leipzig, a position he had assumed in 1723.
Missa Providentiae is a Kyrie–Gloria Mass in D minor composed by Antonio Caldara, which around 1728 was expanded into a Missa tota by Jan Dismas Zelenka: this composer derived a Sanctus and Agnus Dei from Caldara's Kyrie and Gloria, and added a Credo, ZWV 31, of his own hand. Around 1738–1741, Johann Sebastian Bach made a copy of a Sanctus, BWV 239, which was based on the first section of the Gloria of Caldara's Kyrie–Gloria Mass.