Bach cantata

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.

Bach's autograph of an aria in the cantata Herr, gehe nicht ins Gericht mit deinem Knecht, BWV 105

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.

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: 1–200 (sacred cantatas), 201–216 (secular cantatas), and 217–224 (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
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,[5] although 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.

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, 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).[6]

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
See also: Church cantata (Bach) § History and context

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
Further information: Weimar cantata (Bach)

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.[7] 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
See also: Lobet den Herrn, alle seine Heerscharen, BWV Anh. 5

Bach worked in Köthen from 1717 to 1723, where he composed for example the Brandenburg Concertos. He had no responsibility for church music; therefore only secular cantatas have survived. 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. Even after he moved to Leipzig he could use his title of Fürstlich Köthenischer Kapellmeister and continued to write secular cantatas for the court.[8][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
See also: Bach's 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:

  • 1725: BWV 249, early version (later versions known as the Easter Oratorio but the 1725 version was a cantata) * 6 * 42 * 85 * 103 * 108 * 87 * 128 * 183 * 74 * 68 * 175 * 176

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:

  • BWV 117 (1728–1731) * 192 (1730) * 100 (1732–1735) * 97 (1734?)

Third to fifth year in Leipzig
Main article: Church cantatas of Bach's 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:
Secular cantatas:
  • BWV 205
  • Anh. 196
  • 36a
  • 249b
  • 207
  • 204
  • Anh. 9
  • 193a
  • 198
  • 216

Picander cycle of 1728–29
Main article: 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
See also: Late church cantatas by Johann Sebastian Bach

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
column content
01 BWV 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)
02 2a Section 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"
03 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.
04 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, ...)
05 Key Key of the composition
06 Scoring See scoring table below for the abbreviations used in this column
07 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.[42]
08 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:[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)
09 Additional info may 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.

10 BD Bach Digital Work page
Legend for abbreviations in "Scoring" column
Voices (see also SATB)
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
Background colours
Colour Meaning
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
Bach cantatas in Chapter 1 of BWV2a
BWV 2a Date Name Key Scoring BG NBE Additional info BD
1 1. 1725-03-25 Cantata Wie schön leuchtet der Morgenstern (Annunciation) F maj. stbSATB 2Hn 2Odc 2Vl Str Bc 1: 1 I/28.2: 3 after Z 8359; text after Nicolai 00001
2 1. 1724-06-18 Cantata Ach Gott, vom Himmel sieh darein (Trinity II) G min. atbSATB 4Tbn 2Ob Str Bc 1: 53 I/16: 81 after Z 4431; text after Luther 00002
2/6 chorale 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
3 1. 1725-01-14 Cantata Ach Gott, wie manches Herzeleid (Epiphany II) A maj. satbSATB Hn Tbn 2Oba Str Bc 1: 73 I/5: 189 after Z 533a; text after Moller 00003
3/6 chorale 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
4.2 1. 1724-04-09 Cantata Christ lag in Todes Banden (Easter) E min. satbSATB Cnt 3Tbn Str Bc 1: 95 I/9: 1 after BWV 4.1; text by Luther 00004
4/8 chorale setting "Christ lag in Todes Banden" (s. 7) E min.
D min.		 SATB 1: 124 III/2.2: 104 after Z 7012a; text by Luther 11295
4.1 1. 1707-04-24 Cantata Christ lag in Todes Banden (Easter; early version, lost) satbSATB 2Vl 2Va Bc I/9 after Z 7012a; → BWV 4.2; text by Luther 00005
5 1. 1724-10-15 Cantata Wo soll ich fliehen hin (Trinity XIX) G min. satbSATB Tdt 2Ob Str Bc 1: 125 I/24: 133 after Z 2164; text after Heermann 00006
5/7 chorale 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
6 1. 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: 43 after Z 439 (/3: → BWV 649), Z 350a (/6); text after Luke 24:29 (/1), by Melanchthon & Selnecker (/3), Luther (/6) 00007
6/6 chorale setting "Erhalt uns, Herr, bei deinem Wort" (s. 2) G min. SATB 1: 176 III/2.2: 40 after Z 350a ; text by Luther 11338
7 1. 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: 25 after Z 7246; text after Luther 00008
8.1 1. 1724-09-24 Cantata Liebster Gott, wenn werd ich sterben? (Trinity XVI; 1st version) E maj. satbSATB Hn Fl Fl 2Oba Str Bc 1: 211 I/23: 105 after Z 6634; text after Neumann; → BWV 8.2 00009
8.2 1. 1747-09-17 Cantata Liebster Gott, wenn werd ich sterben? (Trinity XVI; 2nd version) D maj. satbSATB Fl 2Oba Tai 2Vl Str Bc I/23: 163 after BWV 8.1 00010
9 1. 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: 83 after Z 4430; text after Speratus 00011
9/7 chorale 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
10 1. 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: 131 → BWV 648 00012
12 1. 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: 1 text by Franck, S.?; → BWV 69.1/6 00014
1724-04-30 G min.
13 1. 1726-01-20 Cantata Meine Seufzer, meine Tränen (Epiphany II) satbSATB 2Fl Odc Str Bc 2: 79 I/5: 229 text by Lehms (except /6) 00015
14 1. 1735-01-30 Cantata Wär Gott nicht mit uns diese Zeit (Epiphany IV) stbSATB Hn 2Ob Str Bc 2: 99 I/6: 139 00016
16 1. 1726-01-01 Cantata Herr Gott, dich loben wir (New Year/Circumcision) A min. atbSATB Hn 2Ob Odc Str Bc 2: 173 I/4: 103 text by Lehms; /6 after Z 5264b (text by Eber) → BWV 419 00018
1731-01-01 atbSATB Hn 2Ob Va Str Bc
17 1. 1726-09-22 Cantata Wer Dank opfert, der preiset mich (Trinity XIV) satbSATB
2Ob Str Bc		 2: 199 I/21: 147 → BWV 236/6 00019
18.2 1. 1724-02-13 Cantata Gleichwie der Regen und Schnee vom Himmel fällt (Sexagesima; chamber pitch version) A min. stbSATB 2Fl Bas 4Va Vc Bc 2: 227 I/7: 107 text by Neumeister; after BWV 18.1 00020
18.1 1. 1715-02-24 Cantata Gleichwie der Regen und Schnee vom Himmel fällt (Sexagesima; choir pitch version) G min. stbSATB Bas 4Va Vc Bc I/7: 81 text by Neumeister; → BWV 18.2 00021
19 1. 1726-09-29 Cantata Es erhub sich ein Streit (Michaelmas) stbSATB 3Tr Tmp 2Ob 2Oba Tai Str Bc 2: 253 I/30: 55 text by Picander 00022
20 1. 1724-06-11 Cantata O Ewigkeit, du Donnerwort (Trinity I) atbSATB Tdt Tmp 3Ob Str Bc 2: 291 I/15: 133 00023
21.1 1. 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 Bc I/16: 109 text by Franck, S.?; → BWV 21.2 00024
21.2 1. c. autumn 1720 Cantata Ich hatte viel Bekümmernis (2nd version) D min. satbSATB 3Tr Tmp Ob Str Bc I/16 text by Franck, S.?; after BWV 21.1; → .3 00025
21.3 1. 1723-06-13 Cantata Ich hatte viel Bekümmernis (3rd version: Trinity III) C min. satbSATB 3Tr Tmp 4Tne Ob Str Bc 51: 1 I/16 text by Franck, S.?; after BWV 21.2 00026
22 1. 1723-02-07 Cantata Jesus nahm zu sich die Zwölfe (Estomihi) satbSATB Ob Str Bc 51: 65 I/8: 1 00027
23.1 1. 1723 Cantata Du wahrer Gott und Davids Sohn (1st version, 3 movements: Estomihi) C min. satbSATB 2Ob Str Bc 51: 93 I/8: 35 → BWV 23.2, .3 00028
23.2 1. 1723-02-07 Cantata Du wahrer Gott und Davids Sohn (2nd version, 4 movements: Estomihi) B min. satbSATB Crn 3Tbn 2Oba Str Bc I/8: 71 after BWV 23.1; → .3 00029
23.3 1. 1728–1731 Cantata Du wahrer Gott und Davids Sohn (3rd version, 4 movements: Estomihi) C min. satbSATB 2Ob Str Bc 51: 93 I/8: 35 after BWV 23.1, .2 00030
24 1. 1723-06-20 Cantata Ein ungefärbt Gemüte (Trinity IV) F maj. satbSATB Cl 2Ob 2Oba Str Bc 51: 125 I/17.1: 47 text by Neumeister 00031
25 1. 1723-08-29 Cantata Es ist nichts Gesundes an meinem Leibe (Trinity XIV) stbSATB Crn 3Tbn 3Fl 2Ob Str Bc 51: 153 I/21: 79 00032
26 1. 1724-11-19 Cantata Ach wie flüchtig, ach wie nichtig (Trinity XXIV) A min. satbSATB Hn Fl 3Ob Str Bc 51: 189 I/27: 29 00033
27 1. 1726-10-06 Cantata Wer weiß, wie nahe mir mein Ende? (Trinity XVI) satbSSATB Hn 2Ob Odc Str Org Bc 51: 217 I/23: 221 after BWV Anh. 170 00034
28 1. 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: 75 text by Neumeister; → BWV 28/2a, Anh. 160/2 00035
28/2a 1. 1725? Motet Sei Lob und Preis mit Ehren C maj. SATB 39: 167 III/3: 15 after BWV 28/2; → Anh. 160/2; was BWV 231 00036
29 1. 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: 1 after BWV 120.2/4 00037
30.2 1. 1738-06-24 Cantata Freue dich, erlöste Schar (24 June: feast of John the Baptist) satbSATB 2Fl 2Ob Oba Vl Str Bc 51: 321 I/29: 59 text by Picander?; after BWV 30.1 (parody) 00038
30.1 1. 1737-09-28 Secular cantata Angenehmes Wiederau (for Hennicke at Wiederau manor) D maj. satbSATB 3Tr Tmp 2Fl 2Ob Oba Str Bc 34: 325 I/39: 51 text by Picander?; → BWV 30.2, 195, v2/6, /8 00039
31.2 1. 1724-04-09 Cantata Der Himmel lacht! Die Erde jubilieret (Leipzig version: Easter) stbSSATB 3Tr Tmp Ob 2Oba Bas 2Vl 2Va Bc I/9: 41
rev 2		 text by Franck, S; after BWV 31.1 00040
31.1 1. 1715-04-21 Cantata Der Himmel lacht! Die Erde jubilieret (Weimar version: Easter) C maj. stbSSATB 3Tr Tmp 3Ob Tai Bas 2Vl 2Va Bc 7: 1 I/9
rev 2		 text by Franck, S; → BWV 31.2 00041
32 1. 1726-01-13 Cantata Liebster Jesu, mein Verlangen (Epiphany I) E min. sbSATB Ob Str Bc 7: 53 I/5: 143 text by Lehms 00042
33 1. 1724-09-03 Cantata Allein zu dir, Herr Jesu Christ (Trinity XIII) A min. atbSATB 2Ob Str Bc 7: 81 I/21: 23 00043
34.1 1. 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: 129 → BWV 34.2 00044
34.2 1. after 1727 Cantata O ewiges Feuer, o Ursprung der Liebe (wedding; incomplete) satbSATB Vl Va Bc I/33: 27 after BWV 34.1 00045
35 1. 1726-09-08 Cantata Geist und Seele wird verwirret (Trinity XII) a 2Ob Tai Str Org Bc 7: 171 I/20: 215 text by Lehms 00046
36.4 1. 1725–1730 Cantata Schwingt freudig euch empor (Advent I; early version) stbSATB Oba Str Bc 7: 395 I/1: 17 after BWV 36.1; → BWV 36.5 00048
36.5 1. 1731-12-02 Cantata Schwingt freudig euch empor (Advent I) satbSATB 2Oba Str Bc 7: 221 I/1: 41 after BWV 36.4 00047
36.2 1. 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/35 text by Picander; after BWV 36.1/1, /3, /5, /7, /9 00049
36.3 1. 1735-07-27 Secular cantata Die Freude reget sich (birthday of Rivinus, J. F.?) satSATB Fl Oba Str Bc 34: 39 I/38: 255 after BWV 36.1/1, /3, /5, /7, /8 00050
36.1 1. April–May 1725 Secular cantata Schwingt freudig euch empor (birthday of Mencke, J. B.?) stbSATB Oba Str Va Bc 34: 39 I/39: 1 → BWV 36.2–.4 00051
37 1. 1724-05-18 Cantata Wer da gläubet und getauft wird (Ascension) A maj. satbSATB 2Oba Str Bc 7: 259 I/12: 79 00052
38 1. 1724-10-29 Cantata Aus tiefer Not schrei ich zu dir (Trinity XXI) E min. satbSATB 2Ob 4Tbn Str Bc 7: 283 I/25: 217 00053
39 1. 1726-06-23 Cantata Brich dem Hungrigen dein Brot (Trinity I) sabSATB 2Fl 2Ob Str Bc 7: 336 I/15 179 00054
40 1. 1723-12-26 Cantata Darzu ist erschienen der Sohn Gottes (Christmas 2) F maj. atbSATB 2Hn 2Ob Str Bc 7: 349 I/3.1: 3 → BWV 233/6 00055
41 1. 1725-01-01 Cantata Jesu, nun sei gepreiset (New Year) C maj. satbSATB 3Tr Tmp 3Ob Str Vc Bc 10: 1 I/4: 37 00056
42 1. 1725-04-08 Cantata Am Abend aber desselbigen Sabbats (Quasimodogeniti) satbSATB 2Ob Bas Str Bc 10: 63 I/11.1: 61 00057
43 1. 1726-05-30 Cantata Gott fähret auf mit Jauchzen (Ascension) satbSATB 3Tr Tmp 2Ob Str Bc 10: 93 I/12: 133 after BWV 43/11 00058
44 1. 1724-05-21 Cantata Sie werden euch in den Bann tun (Exaudi) satbSATB 2Ob Str Bc 10: 127 I/12: 165 00059
45 1. 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: 197 00060
46 1. 1723-08-01 Cantata Schauet doch und sehet, ob irgend ein Schmerz sei (Trinity X) atbSATB Tdt Hn 2Fl 2Odc Str Bc 10: 187 I/19: 109 00061
47 1. 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: 319 text by Helbig 00062
48 1. 1723-10-03 Cantata Ich elender Mensch, wer wird mich erlösen (Trinity XIX) G min. atSATB Tr 2Ob Str Bc 10: 275 I/24: 105 00063
49 1. 1726-11-03 Cantata Ich geh und suche mit Verlangen (Trinity XX) G min. sb Oba Str Vl Org Bc 10: 299 I/25: 107 → BWV 1053/3 00064
50 1. 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: 141 text after Rev. 12: 10; in SBB P 136 00065
51 1. 1730-09-17 Cantata Jauchzet Gott in allen Landen (Trinity XV) C maj. s (2)Tr (Tmp) Str Bc 122: 1 I/22: 77 00066
52 1. 1726-11-24 Cantata Falsche Welt, dir trau ich nicht (Trinity XXIII) F maj. sSATB 2Hn 3Ob Bas Str Bc 122: 25 I/26: 131 text by Birkmann; after BWV 1046a/1 00067
54 1. 1714–1717? Cantata Widerstehe doch der Sünde (Oculi) E♭ maj. a 2Vl 2Va Bc 122: 59 I/18: 3 text by Lehms; → BWV 247/53? 00069
55 1. 1726-11-17 Cantata Ich armer Mensch, ich Sündenknecht (Trinity XXII) G min. tSATB Fl Oba Str Bc 122: 73 I/26: 55 text by Birkmann 00070
56 1. 1726-10-27 Cantata Ich will den Kreuzstab gerne tragen (Trinity XIX) bSATB 2Ob Tai Str Vc Bc 122: 87 I/24: 173 text by Birkmann 00071
57 1. 1725-12-26 Cantata Selig ist der Mann (Christmas 2) G min. sbSATB 2Ob Tai Str Bc 122: 105 I/3.1: 83 text by Lehms 00072
58.2 1. 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: 217 text by Birkmann; after BWV 58.1 00073
58.1 1. 1727-01-05 Cantata Ach Gott, wie manches Herzeleid (New Year I; early version) C maj. sb Vl Str Bc I/4: 241 text by Birkmann; → BWV 58.2 00074
59 1. 1724-05-28 Cantata Wer mich liebet, der wird mein Wort halten (Pentecost) C maj. sbSATB 2Tr Tmp Str Bc 122: 151 I/13: 65 text by Neumeister; → BWV 74/1 and /2, 175/7 00075
60 1. 1723-11-07 Cantata O Ewigkeit, du Donnerwort (Trinity XXIV) D maj. atbSATB Hn 2Oba Str Bc 122: 169 I/27: 1 00076
61 1. 1714-12-02 Cantata Nun komm, der Heiden Heiland (Advent I – first setting) stbSATB Fag 2Vl 2Va Bc 16: 1 I/1: 1 text by Neumeister 00077
62 1. 1724-12-03 Cantata Nun komm, der Heiden Heiland (Advent I – second setting) B min. satbSATB Hn 2Ob Str Bc 16: 19 I/1: 75 00078
63 1. 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: 1 text by Heineccius, J. M.? 00079
64 1. 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: 113 text by Knauer (modified) 00080
65 1. 1724-01-06 Cantata Sie werden aus Saba alle kommen (Epiphany) tbSATB 2Hn 2Fl 2Odc Str Bc 16: 133 I/5: 1 00081
66.2 1. 1724-04-10 Cantata Erfreut euch, ihr Herzen (Easter 2) atbSATB Tr 2Ob Str Bc 16: 167 I/10: 1 after BWV 66.1/8, /1–/4 00082
66.1 1. 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/35 text by Hunold; → BWV 66.2/1–/5 00083
67 1. 1724-04-16 Cantata Halt im Gedächtnis Jesum Christ (Quasimodogeniti) A maj. atbSATB Hn Fl 2Oba Str Bc 16: 215 I/11.1: 1 → BWV 234/2 00084
68 1. 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: 31 text by Ziegler, C. M.; after BWV 208/13 and /7 00085
69.2 1. 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: 111 after BWV 69.1/1, /3 and /5 00086
69.1 1. 1723-08-15 Cantata Lobe den Herrn, meine Seele (Trinity XII) satbSATB 3Tr Tmp Fl 3Ob Oba Odc Bas Str Bc I/20: 117 text by Knauer (modified); after BWV 12/7; → BWV 69.2/1, /3 and /5 00087
70.2 1. 1723-11-21 Cantata Wachet! Betet! Betet! Wachet! (Trinity XXVI) C maj. satbSATB Tr Ob Str Vc Bc 16: 327 I/27: 107 text by Franck, S (reworked); after BWV 70.1 00088
70.1 1. 1716-12-06 Cantata Wachet! Betet! Betet! Wachet! (Advent II) satbSATB Tr Ob Str Vc Bc I/1 text by Franck, S; → BWV 70.2/1, /3, /5, /8, /10, /11 00089
71 1. 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: 3 text by Eilmar? 00090
72 1. 1726-01-27 Cantata Alles nur nach Gottes Willen (Epiphany III) A min. sabSATB 2Ob Str Bc 18: 55 I/6: 59 text by Franck, S; → BWV 235/2 00091
73 1. 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: 3 00092
74 1. 1725-05-20 Cantata Wer mich liebet, der wird mein Wort halten (Pentecost) satbSATB 3Tr Tmp 2Ob Odc Str Bc 18: 105 I/13: 83 text by Ziegler, C. M.; after BWV 59/1, /4 00093
75 1. 1723-05-30 Cantata Die Elenden sollen essen (Trinity I) satbSATB Tr 2Ob Oba Bas Str Bc 18: 147 I/15: 85 → BWV 100/6 00094
76 1. 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: 1 → BWV 528/1 00095
77 1. 1723-08-22 Cantata Du sollt Gott, deinen Herren, lieben (Trinity XIII) satbSATB Tdt 2Ob Str Bc 18: 233 I/21: 1 text by Knauer 00096
78 1. 1724-09-10 Cantata Jesu, der du meine Seele (Trinity XIV) G min. satbSATB Hn Fl 2Ob Str Vne Bc 18: 255 I/21: 115 00097
79 1. 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: 1 → BWV 236/2, /4, 234/5 00098
80.3 1. 1727-10-31
1731-10-31		 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: 71 text by Franck, S; after BWV 80.1, .2 00099
80.1 1. 1715-03-24
1716-03-16		 Cantata Alles, was von Gott geboren (Oculi; music lost) satb(?)SATB Ob Str Bc I/8.2: V text by Franck, S; → BWV 80.2, .3 00100
80.2 1. 1723-10-31
1731-10-31		 Cantata Ein feste Burg ist unser Gott (Reformation Day; 1st Leipzig version) sbSATB Ob Str Bc I/31: 65 text by Franck, S; after BWV 80.1; → BWV 80.3 00101
81 1. 1724-01-30 Cantata Jesus schläft, was soll ich hoffen? (Epiphany IV) E min. atbSATB 2Fl 2Oba Str Bc 201: 1 I/6: 111 00102
82.1 1. 1727-02-02 Cantata Ich habe genug (Purification; 1st version) C min. b Ob Str Bc 201: 25 I/28.1: 111 text by Birkmann; → BWV 82.2–.4 00103
82.2 1. 1731-02-02 Cantata Ich habe genug (Purification; 2nd version) E min. s Fl Str Bc I/28.1: 155 text by Birkmann; after BWV 82.1; → 82.3–.4 00104
82.2/2–/3 1. 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 text by Birkmann; after BWV 82.2 00104
82.2/3 1. 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 text by Birkmann; after BWV 82.2 00104
82.3 1. c.1735 Cantata Ich habe genug (Purification; 3rd version) C min. b or mezzo Ob Str Bc I/28.1: 111 text by Birkmann; after BWV 82.1–.2; → 82.4 00105
82.4 1. 1746–1748 Cantata Ich habe genug (Purification; 4th version) C min. b (or mezzo) Ob Odc Str Bc I/28.1: 111 text by Birkmann; after BWV 82.1–.3 00106
83 1. 1724-02-02 Cantata Erfreute Zeit im neuen Bunde (Purification) atbSATB 2Hn 2Ob Vl Str Bc 201: 51 I/28.1: 3 00107
84 1. 1727-02-09 Cantata Ich bin vergnügt mit meinem Glücke (Septuagesimae) E min. sSATB Ob Str Bc 201: 77 I/7: 21 text by Picander (reworked)? 00108
85 1. 1725-04-15 Cantata Ich bin ein guter Hirt (Misericordias Domini) C min. satbSATB 2Ob Str Vc Bc 201: 99 I/11.1: 157 00109
86 1. 1724-05-14 Cantata Wahrlich, wahrlich, ich sage euch (Rogate) E maj. satbSATB 2Oba Str Bc 201: 119 I/12: 45 00110
87 1. 1725-05-06 Cantata Bisher habt ihr nichts gebeten in meinem Namen (Rogate) D min. atbSATB 2Ob 2Odc Str Bc 201: 135 I/12: 61 text by Ziegler, C. M. (reworked) 00111
88 1. 1726-07-21 Cantata Siehe, ich will viel Fischer aussenden (Trinity V) D maj.
B min.		 satbSATB 2Hn 2Oba Tai Str Bc 201: 153 I/17.2: 33 00112
89 1. 1723-10-24 Cantata Was soll ich aus dir machen, Ephraim? (Trinity XXII) sabSATB Hn 2Ob Str Bc 201: 179 I/26: 1 00113
90 1. 1723-11-14 Cantata Es reißet euch ein schrecklich Ende (Trinity XXV) D min. atbSATB (Tr) Str Bc 201: 195 I/27: 59 00114
91.2 1. after 1740 Cantata Gelobet seist du, Jesu Christ (Christmas; later version) G maj. satbSATB 2Hn Tmp 3Ob Str Bc 22: 1 I/2: 131 after BWV 91.1 00115
91.1 1. 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: 164 → BWV 91.2 00116
92 1. 1725-01-28 Cantata Ich hab in Gottes Herz und Sinn (Septuagesimae) B min. satbSATB 2Oba Str Bc 22: 33 I/7: 41 00117
93 1. 1724-07-09 Cantata Wer nur den lieben Gott läßt walten (Trinity V) C min. satbSATB 2Ob Str Bc 22: 69 I/17.2: 3 → BWV 647 00118
94 1. 1724-08-06 Cantata Was frag ich nach der Welt (Trinity IX) D maj. satbSATB Fl 2Ob 2Oba Str Bc 22: 95 I/19: 43 00119
95 1. 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: 65 00120
96 1. 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: 1 00121
97 1. 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: 197 text by Fleming 00122
98 1. 1726-11-10 Cantata Was Gott tut, das ist wohlgetan (Trinity XXI) B♭ maj. satbSATB 2Ob Str Bc 22: 231 I/25: 241 text by Birkmann 00123
99 1. 1724-09-17 Cantata Was Gott tut, das ist wohlgetan (Trinity XV) G maj. satbSATB Hn Fl Oba Str Bc 22: 251 I/22: 41 text by Rodigast (reworked); → BWV 100/1 00124
100 1. 1732–1735 Cantata Was Gott tut, das ist wohlgetan G maj. satbSATB 2Hn Tmp Fl Oba Str Bc 22: 277 I/34: 239 text by Rodigast; after BWV 99/1, 75/7 00125
101 1. 1724-08-13 Cantata Nimm von uns, Herr, du treuer Gott (Trinity X) G maj. satbSATB 2Hn Tmp Fl Oba Str Bc 23: 1 I/19: 173 00126
102 1. 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: 229 → BWV 235/1, 233/4, /5 00127
103 1. 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: 25 text by Ziegler, C. M. 00128
104 1. 1724-04-23 Cantata Du Hirte Israel, höre (Misericordias) tbSATB 2Ob 2Oba Tai Str Bc 23: 95 I/11.1: 113 00129
105 1. 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: 1 00130
106 1. 1708-09-16? Cantata Gottes Zeit ist die allerbeste Zeit (funeral; "Actus tragicus") E♭ maj. satbSATB 2Fl 2Vdg Bc 23: 147 I/34: 1 text by Olearius, J. (reworked) 00131
107 1. 1724-07-23 Cantata Was willst du dich betrüben (Trinity VII) B min. stbSATB Hn 2Fl 2Oba Str Bc 23: 179 I/18: 55 text by Heermann 00132
108 1. 1725-04-29 Cantata Es ist euch gut, daß ich hingehe (Cantate) A maj.
B min.		 atbSATB 2Oba Str Bc 23: 203 I/12: 17 text by Ziegler, C. M. 00133
109 1. 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: 157 00134
110 1. 1725-12-25 Cantata Unser Mund sei voll Lachens (Christmas) D maj.
B min.		 satbSATB 3Tr Tmp 2Fl 3Ob Oba Odc Bas Str Bc 23: 263 I/2: 71 text by Lehms 00135
111 1. 1725-01-25 Cantata Was mein Gott will, das g'scheh allzeit (Epiphany III) A min. satbSATB 2Ob Str Bc 24: 1 I/6: 27 00136
112 1. 1731-04-08 Cantata Der Herr ist mein getreuer Hirt (Misericordias) G maj. satbSATB 2Hn 2Oba Str Bc 24: 29 I/11.1: 179 text by Meuslin after Ps. 23 00137
113 1. 1724-08-20 Cantata Herr Jesu Christ, du höchstes Gut (Trinity XI) B min. satbSATB Fl 2Oba Str Bc 24: 49 I/20: 79 00138
114 1. 1724-10-01 Cantata Ach, lieben Christen, seid getrost (Trinity XVII) G min. satbSATB Hn Fl 2Ob Str Bc 24: 81 I/23: 287 00139
115 1. 1724-11-05 Cantata Mache dich, mein Geist, bereit (Trinity XXII) G maj. satbSATB Hn Fl Oba Str Vc Bc 24: 109 I/26: 21 text by Freystein (reworked) 00140
116 1. 1724-11-26 Cantata Du Friedefürst, Herr Jesu Christ (Trinity XXV) A maj. satbSATB Hn 2Oba Str Bc 24: 133 I/27: 79 text by Ebert (reworked) 00141
117 1. 1728–1731 Cantata Sei Lob und Ehr dem höchsten Gut G maj. atbSATB 2Fl 2Ob 2Oba Str Bc 24: 159 I/34: 151 text by Schütz, J. J. 00142
119 1. 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: 129 00144
120.1 1. 1729 or earlier Cantata Gott, man lobet dich in der Stille (council election) satbSATB 3Tr 2Ob 2Oba Vl Str Bc 24: 247 I/32.2: 53 ↔ BWV 120.2/6, /1, /3, 1019a/3 ; → BWV 120.3/1, /2, /4, 232II/9 00145
120.2 1. 1729? Cantata Herr Gott, Beherrscher aller Dinge (wedding; incomplete) satbSATB 3Tr Tmp 2Ob 2Oba Str Org Bc 41: 149 I/33: 75 after BWV 1006/1, 137/5; ↔ BWV 120.1/2, /4, /6, 1019a/3; → BWV 120.3/2, /4, /1, 232II/9, 29/1 00146
120.3 1. 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		 text by Picander; after BWV 120.1/1, /2, /4, 120.2/6, /1, /3, 1019a/3; → 232II/9 00147
121 1. 1724-12-26 Cantata Christum wir sollen loben schon (Christmas 2) satbSATB Cnt 3Tbn Oba Str Bc 26: 1 I/3.1: 57 00148
122 1. 1724-12-31 Cantata Das neugeborne Kindelein (Christmas I) G min. satbSATB 3Fl 2Ob Tai Str Bc 26: 21 I/3.2: 53 00149
123 1. 1725-01-06 Cantata Liebster Immanuel, Herzog der Frommen (Epiphany) B min. atbSATB 2Fl 2Oba Str Bc 26: 41 I/5: 47 00150
124 1. 1725-01-07 Cantata Meinen Jesum laß ich nicht (Epiphany I) E maj. satbSATB Hn Oba Str Bc 26: 61 I/5: 115 00151
125 1. 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: 31 00152
126 1. 1725-02-04 Cantata Erhalt uns, Herr, bei deinem Wort (Sexagesimae) A min. atbSATB Tr 2Ob Str Bc 26: 111 I/7: 155 00153
127 1. 1725-02-11 Cantata Herr Jesu Christ, wahr' Mensch und Gott (Estomihi) F maj. stbSATB Tr 2Fl 2Ob Str Bc 26: 133 I/8: 107 → BWV 127/1 (variant) 00154
127/1 (var.) 1. c.1750 Chorus "Herr Jesu Christ, wahr' Mensch und Gott" (Passion oratorio movement) E♭ maj. SATB 2Fl 2Ob Str Bc I/41: 95 after BWV 127/1; → BC D 10 00155
128 1. 1725-05-10 Cantata Auf Christi Himmelfahrt allein (Ascension) G maj. atbSATB Tr 2Hn 2Ob 2Oba Odc Str Bc 26: 163 I/12: 101 text by Ziegler, C. M. 00156
129 1. 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: 37 text by Olearius, J. 00157
130.1 1. 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: 48 text by Eber (reworked); → BWV 130.2 00158
130.2 1. 1732–1735 Cantata Herr Gott, dich loben alle wir (Michaelmas; 2nd version) C maj. satbSATB 3Tr Tmp Fl 3Ob Str Bc I/30: 48 text by Eber (reworked); after BWV 130.1 00159
131 1. 1707–1708 Cantata Aus der Tiefen rufe ich, Herr, zu dir G min. satbSATB Ob Bas Str Bc 28: 1 I/34: 67 text by Bach or Eilmar after Ps. 130; → BWV 131a 00160
132 1. 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		 text by Franck, S. 00162
133 1. 1724-12-27 Cantata Ich freue mich in dir (Christmas 3) A maj. satbSATB Cnt 2Oba Str Bc 28: 51 I/3.1: 135 text by Ziegler, C. (/1, /6) 00163
134.3 1. 1731-03-27
1735-04-12		 Cantata Ein Herz, das seinen Jesum lebend weiß (Easter 3; later version) atSATB 2Ob Str Bc 28: 81 I/10: 69 after BWV 134.2 00164
134.2 1. 1724-04-11 Cantata Ein Herz, das seinen Jesum lebend weiß (Easter 3; early version) atSATB 2Ob Str Bc 28: 81, 287 I/10: 106 after BWV 134.1; → BWV 134.3 00165
134.1 1. 1719-01-01 Secular cantata Die Zeit, die Tag und Jahre macht (congratulation for New Year) atSATB 2Ob Str Bc 29: 209 I/35: 49 text by Hunold; → BWV 134.2 00166
135 1. 1724-06-25 Cantata Ach Herr, mich armen Sünder (Trinity III) atbSATB Cnt Tbn 2Ob Str Bc 28: 119 I/16: 197 00167
136 1. 1723-07-18 Cantata Erforsche mich, Gott, und erfahre mein Herz (Trinity VIII) atbSATB Hn 2Ob 2Oba Str Bc 28: 137 I/18: 129 → BWV 234/6 00168
137 1. 1725-08-19 Cantata Lobe den Herren, den mächtigen König der Ehren (Trinity XII) satbSATB 3Tr Tmp 2Ob Str Bc 28: 165 I/20: 171 text by Neander; → BWV 650 00169
138 1. 1723-09-05 Cantata Warum betrübst du dich, mein Herz (Trinity XV) satbSATB 2Oba Str Bc 28: 197 I/22: 19 → BWV 236/3 00170
139 1. 1724-11-12 Cantata Wohl dem, der sich auf seinen Gott (Trinity XXIII) satbSATB 2Oba Str Bc 28: 223 I/26: 97 text by Rube (reworked) 00171
140 1. 1731-11-25 Cantata Wachet auf, ruft uns die Stimme (Trinity XXVII) stbSATB Hn 2Ob Tai Vl Str Bc 28: 249 I/27: 149 text by Nicolai (reworked); → BWV 645 00172
143 1. Cantata Lobe den Herrn, meine Seele (New Year) stbSATB 3Hn Tmp Bas Str Bc 30: 43 I/4: 165
rev 2		 00175
144 1. 1724-02-06 Cantata Nimm, was dein ist, und gehe hin (Septuagesima) satSATB 2Ob Oba Str Bc 30: 75 I/7: 1 00176
145 1. 1729-04-19 Cantata Ich lebe, mein Herze, zu deinem Ergötzen (Easter 3) stbSATB Tr Fl 2Ob Str Bc 30: 93 I/10: 111 text by Picander; after BWV 145/b 00177
146 1. 1726-05-12 Cantata Wir müssen durch viel Trübsal (Jubilate) satbSATB Fl 2Ob 2Oba Tai Str Org Bc 30: 123 I/11.2: 65 after BWV 1052R/1, /2?; → BWV 1052/1, /2 00179
147.2 1. 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: 63 text by Franck, S. (reworked); after BWV 147.1 00180
147.1 1. 1716-12-20 Cantata Herz und Mund und Tat und Leben (Advent IV) D maj. satbSATB Tr Ob Str Bc I/1 text by Franck, S.; → BWV 147.2/1, /3, /7, /5 00181
148 1. 1723-09-19 Cantata Bringet dem Herrn Ehre seines Namens (Trinity XVII) atSATB Tr 2Oba Odc Str Bc 30: 235 I/23: 253 text by Picander 00182
149 1. 1729-09-29 Cantata Man singet mit Freuden vom Sieg (Michaelmas) satbSATB 3Tr Tmp 3Ob Bas Str Vne Bc 30: 261 I/30: 97 text by Picander; after BWV 208/15 00183
149/1a 1. Fall 1729 Cantata opening: "Concerto" (incomplete; abandoned alternative start of BWV 149?) D maj. SATB 3Tr Tmp 2Ob Str Bc I/40
I/30		 in SBB P 175; was BWV Anh. 198 01509
150 1. 1707-07-10 Cantata Nach dir, Herr, verlanget mich (Trinity III) satbSATB Bas 2Vl Bc 30: 301 I/41: 3 00184
151 1. 1725-12-27 Cantata Süßer Trost, mein Jesus kömmt (Christmas 3) satbSATB Fl Vl Oba Str Bc 32: 1 I/3.1: 169 text by Lehms 00185
152 1. 1714-12-30 Cantata Tritt auf die Glaubensbahn (Christmas I) sb Fl Ob Va Vdg Bc 32: 17 I/3.2: 3 text by Franck, S.; ↔ BWV 536/2; → 536a/2 00186
153 1. 1724-01-02 Cantata Schau, lieber Gott, wie meine Feind (Christmas II) atbSATB Str Bc 32: 41 I/4: 199 00187
154 1. 1724-01-09 Cantata Mein liebster Jesus ist verloren (Epiphany I) atbSATB 2Oba Str Hc Bc 32: 59 I/5: 89 00188
155 1. 1716-01-19
1724-01-16		 Cantata Mein Gott, wie lang, ach lange? (Epiphany II) satbSATB Bas Str Bc 32: 83 I/5: 173 text by Franck, S. 00189
156 1. 1729-01-23 Cantata Ich steh mit einem Fuß im Grabe (Epiphany III) F maj. satbSATB Ob Str Bc 32: 97 I/6: 91 text by Picander; after BWV 1056R/2?; → BWV 1056/2 00190
157.2 1. 1727-02-06 Cantata Ich lasse dich nicht, du segnest mich denn (funeral; later: Purification) tbSATB Fl Ob Oba Va Str Bc 32: 115 I/34: 41 text by Picander; after BWV 157.1 00191
157.1 1. before 1727-02-06 Cantata Ich lasse dich nicht, du segnest mich denn (funeral) tbSATB Fl Oba Va Str Bc I/34 text by Picander; → BWV 157.2 11366
158 1. Cantata Der Friede sei mit dir (Purification; later: Easter 3) sbSATB Ob Vl Bc 32: 141 I/10: 129 in SBB P 1047, St 634 00192
159 1. 1729-02-27 Cantata Sehet, wir gehn hinauf gen Jerusalem (Estomihi) satbSATB Ob Str Bc 32: 155 I/8: 153 text by Picander 00193
161 1. 1716-09-27 Cantata Komm, du süße Todesstunde (Trinity XVI; 1st version) atSATB 2Fl Str Org Bc 33: 1 I/23: 1 text by Franck, S.; → BWV 161, v2 00195
161, v2 1. 1723–1750? Cantata Komm, du süße Todesstunde (Trinity XVI; 2nd version) satSATB 2Fl Str Bc 33: 1 I/23: 33 text by Franck, S.; after BWV 161 00196
162.1 1. 1716-10-25 Cantata Ach! ich sehe, itzt, da ich zur Hochzeit gehe (Trinity XX) A min. satbSATB Str Bc 33: 29 I/25: 1 text by Franck, S.; → BWV 162.2 00197
162.2 1. 1723-10-10 Cantata Ach! ich sehe, itzt, da ich zur Hochzeit gehe (Trinity XX) B min. satbSATB Hn Str Bc 33: 29 I/25: 23 text by Franck, S.; after BWV 162.1 11367
163 1. 1715-11-24 Cantata Nur jedem das Seine (Trinity XXIII) satbSATB Str 2Vc Bc 33: 47 I/26: 77 text by Franck, S. 00198
164 1. 1725-08-26 Cantata Ihr, die ihr euch von Christo nennet (Trinity XIII) satbSATB 2Fl 2Ob Str Bc 33: 65 I/21: 57 text by Franck, S. 00199
165 1. 1715-06-16
1724-06-04		 Cantata O heilges Geist- und Wasserbad (Trinity) satbSATB Fag Str Bc 33: 89 I/15: 1 text by Franck, S.; in SBB Am.B 105 00200
166 1. 1724-05-07 Cantata Wo gehest du hin? (Cantate) satbSATB Ob Str Bc 33: 105 I/12: 1 text by Franck, S.; → BWV 584 00201
167 1. 1723-06-24 Cantata Ihr Menschen, rühmet Gottes Liebe (24 June: feast of John the Baptist) satbSATB Tr Ob Odc Str Bc 33: 123 I/29: 1 00202
168 1. 1725-07-29 Cantata Tue Rechnung! Donnerwort (Trinity IX) satbSATB 2Oba Str Bc 33: 147 I/19: 87 text by Franck, S. 00203
169 1. 1726-10-20 Cantata Gott soll allein mein Herze haben (Trinity XVIII) aSATB 2Oba Tai Str Org Bc 33: 167 I/24: 59 text by Birkmann; → BWV 1053/1, /2 00204
170 1. 1726-07-28 Cantata Vergnügte Ruh, beliebte Seelenlust (Trinity VI) a Oba Fl Str Org Bc 33: 193 I/17.2: 61 text by Lehms 00205
171 1. 1729-01-01 Cantata Gott, wie dein Name, so ist auch dein Ruhm (New Year) satbSATB 3Tr Tmp 2Ob Str Bc 35: 1 I/4: 131 text by Picander; after BWV 205 00206
172.1 1. 1714-05-20 Cantata Erschallet, ihr Lieder, erklinget, ihr Saiten! (Pentecost; 1st version = Weimar version; incomplete) C maj. (SATB) 3Tr Tmp (Fl? Ob 2)Vl 2Va Vc Bas (Bc) I/13 text by Franck, S.?; → BWV 172.2 00207
172.2 1. 1724-05-28 Cantata Erschallet, ihr Lieder, erklinget, ihr Saiten! (Pentecost; 2nd version = 1st Leipzig version) D maj. satbSATB 3Tr Tmp Fl Ob Oba Bas 2Vl 2Va Vc Bc I/13: 1 text by Franck, S.?; after BWV 172.1; → BWV 172.3 00208
172.3 1. 1731-05-13 Cantata Erschallet, ihr Lieder, erklinget, ihr Saiten! (Pentecost; 3rd version = 2nd Leipzig version) C maj. satbSATB 3Tr Tmp Ob Bas 2Vl 2Va Vc Org Bc 35: 35 I/13: 33 text by Franck, S.?; after BWV 172.2 00209
173.2 1. 1727-06-02
1731-05-14		 Cantata Erhöhtes Fleisch und Blut (Pentecost 2) satbSATB 2Fl Str Bc 35: 71 I/14: 1 after BWV 173.1 00210
173.1 1. 1722-12-10 Secular cantata Durchlauchtster Leopold (birthday of Leopold of Anhalt-Köthen) satbSATB 2Fl Str Bc 34: 1 I/35: 95 → BWV 173.2 00211
174 1. 1729-06-06 Cantata Ich liebe den Höchsten von ganzem Gemüte (Pentecost 2) atbSATB 2Cdc 2Ob Tai 3Vl 3Va 3Vc Str Bc 35: 103 I/14: 63 text by Picander; after BWV 1048/1 00212
175 1. 1725-05-22 Cantata Er rufet seinen Schafen mit Namen (Pentecost 3) atbSATB 2Tr 3Fl Str Vc Bc 35: 159 I/14: 147 text by Ziegler, C. M. 00213
176 1. 1725-05-27 Cantata Es ist ein trotzig und verzagt Ding (Trinity) sabSATB 2Ob Odc Str Bc 35: 179 I/15: 17 text by Ziegler, C. M. 00214
177 1. 1732-07-06 Cantata Ich ruf zu dir, Herr Jesu Christ (Trinity IV) satSATB 2Ob Odc Bas Vl Str Bc 35: 199 I/17.1: 77 text by Agricola, J. 00215
178 1. 1724-07-30 Cantata Wo Gott der Herr nicht bei uns hält (Trinity VIII) atbSATB Hn 2Ob 2Oba Str Bc 35: 235 I/18: 159 00216
179 1. 1723-08-08 Cantata Siehe zu, daß deine Gottesfurcht nicht Heuchelei sei (Trinity XI) stbSATB 2Ob 2Odc Str Bc 35: 273 I/20: 55 → BWV 236/1, /5, 234/4 00217
180 1. 1724-10-22 Cantata Schmücke dich, o liebe Seele (Trinity XX) satbSATB 2Fl Fl Ob Odc Str Vc Bc 35: 293 I/25: 41 00218
181 1. 1724-02-13 Cantata Leichtgesinnte Flattergeister (Sexagesima) satbSATB Tr Fl Ob Str Bc 37: 1 I/7: 133 00219
182 1. 1714-03-25
1724-03-25
1728-03-21		 Cantata Himmelskönig, sei willkommen (Palm Sunday) G maj. atbSATB Fl (Ob 2)Vl 2Va Bc 37: 21 I/8.2: 1 text by Franck, S.? 00220
183 1. 1725-05-13 Cantata Sie werden euch in den Bann tun (Exaudi) satbSATB 2Oba 2Odc Str Vc Bc 37: 59 I/12: 187 text by Ziegler, C. M. 00221
184.2 1. 1724-05-30
1727-06-03
1731-05-15		 Cantata Erwünschtes Freudenlicht (Pentecost 3) satSATB 2Fl Str Bc 37: 75 I/14: 119 after BWV 184.1/1–/4, /6 00222
184.1 1. 1721-01-01 Secular cantata (incomplete) sb 2Fl Vl Str Bc (?) I/35 → BWV 184.2/1–/4, /6 00223
185.1 1. 1715-07-14 Cantata Barmherziges Herze der ewigen Liebe (Trinity IV) satbSATB Ob Str Bc 37: 101 I/17.1: 1 text by Franck, S.; → BWV 185.2 00224
185.2 1. 1723-06-20 Cantata Barmherziges Herze der ewigen Liebe (Trinity IV) G min. satbSATB Tr Ob Str Bc 37: 101 I/17.1: 1 text by Franck, S.; after BWV 185.1 11368
186.2 1. 1723-07-11 Cantata Ärgre dich, o Seele, nicht (Trinity VII) satbSATB 2Ob Tai Bas Str Bc 37: 119 I/18: 15 text by Franck, S. (reworked); after BWV 186.1/1–/5 00225
186.1 1. 1716-12-13 Cantata Ärgre dich, o Seele, nicht (Advent III; incomplete) stbSATB 2Ob Odc Tai Bas Str Bc I/1 text by Franck, S.; → BWV 186.2/1, /3, /5, /8, /10 00226
187 1. 1726-08-04 Cantata Es wartet alles auf dich (Trinity VII) sabSATB 2Ob Str Bc 37: 155 I/18: 91 → BWV 235/6, /4, /3, /5 00227
188 1. 1728-10-17 Cantata Ich habe meine Zuversicht (Trinity XXI) D min. satbSATB 2Ob Tai Str Org Bc 37: 193 I/25: 265 text by Picander; after BWV 1052R/3?; → BWV 1052/3 00228
190.1 1. 1724-01-01 Cantata Singet dem Herrn ein neues Lied (New Year; incomplete) atbSATB 3Tr Tmp 3Ob Oba Bas Str Bc 37: 227 I/4: 1 → BWV 190.2/1, /2, /3, /5 00230
190.2 1. 1730-06-25 Cantata Singet dem Herrn ein neues Lied (200th anniversary of the Augsb. Confess.; incomplete) atbSATB 3Tr Tmp 3Ob Str Bc (?) I/34 text by Picander; after BWV 190/1, /2, /3, /5 00231
191 1. 1743–1746 Cantata Gloria in excelsis Deo (Christmas) stSSATB 3Tr Tmp 2Fl 2Ob Str Bc 41: 1 I/2: 171 after BWV 232/4, /5, /8, /12 00232
192 1. autumn 1730? Cantata Nun danket alle Gott (incomplete) sbSATB 2Fl 2Ob Str Bc 41: 65 I/34: 107 text by Rinkart 00233
193.2 1. 1727-08-25 Cantata Ihr Tore zu Zion (council election; incomplete) saSA(TB) 2Ob Str (Bc) 41: 91 I/32.1: 201 after BWV 193.1/1, /7, /9 00234
193.1 1. 1727-08-03 Secular cantata Ihr Häuser des Himmels, ihr scheinenden Lichter (name day of Friedrich August II; incomplete) saSA(TB) 2Ob Str (Bc) I/36 text by Picander; → BWV 193.2/1, /3, /5 00235
194.3 1. 1724-06-04
1731-05-20		 Cantata Höchsterwünschtes Freudenfest (Trinity; 1st Leipzig version) B♭ maj. stbSATB 3Ob Bas Str Bc 29: 99 I/31 after BWV 194.2; → BWV 194.4 00236
194.4 1. 1726-06-16 Cantata Höchsterwünschtes Freudenfest? (Trinity; 2nd Leipzig version) B♭ maj. stbSATB 3Ob Bas Str Bc 29: 99 I/31: 235 after BWV 194.3/12, /2, /3, /4, /5, /7, /10 00237
194.2 1. 1723-11-02 Cantata Höchsterwünschtes Freudenfest (Störmthal version: consecration of church and organ) B♭ maj. sabSATB 3Ob Bas Str Bc 29: 99 I/31: 123 after BWV 194.1/1, /3, /5, /7, /9; → BWV 194.3 00238
194.1 1. 1717–1723? Secular cantata model for church cantata versions of BWV 194 (incomplete) B♭ maj. 3Ob Str &? I/35 → BWV 194.2/1, /3, /5, /8, /10 00239
195.3 1. c.1748–1749 Cantata Dem Gerechten muß das Licht (wedding; last version) satbSATB 3Tr Tmp 2Hn 2Fl 2Ob 2Oba Str Bc 131: 1 I/33: 171 after BWV 195.2 00242
195.1 1. 1727–1731 Cantata Dem Gerechten muß das Licht (wedding; 1st version, lost) SATB 3Tr Tmp 2Fl 2Ob Str Bc I/33 → BWV 195.2 00240
195.2 1. c.1742 Cantata Dem Gerechten muß das Licht (wedding; 2nd version, incomplete) SATB &? I/33 after BWV 195.1, 30a/5, /1; → BWV 195.3 00241
196 1. 1708-06-05? Cantata Der Herr denket an uns (wedding) stbSATB Str Bc 131: 71 I/33: 1 text after Ps. 115: 12–15 00243
197.2 1. 1736–1737 Cantata Gott ist unsre Zuversicht (wedding) sabSATB 3Tr Tmp 2Ob 2Oba Bas Str Bc 131: 95 I/33: 117 after BWV 197.1 00244
197.1 1. 1728-12-25 Cantata Ehre sei Gott in der Höhe (Christmas; incomplete) abSATB 2Fl Oba Bas Str Vc Bc 41: 109 I/2: 63 text by Picander; → BWV 197.2 00245
198 1. 1727-10-17 Secular cantata Laß, Fürstin, laß noch einen Strahl a.k.a. Trauer-Ode (funeral ceremony for Christiane Eberhardine) satbSATB 2Fl 2Ob 2Oba Str 2Vdg 2Lu Bc 133: 1
44: 54		 I/38: 179 text by Gottsched, J. C.; ↔ BWV 244a, 247 00246
199.2 1. 1720–1721 Cantata Mein Herze schwimmt im Blut (Trinity XI; Köthen version; incomplete) D min. s Ob Str Vdg Bc 41: 202 I/20: 48 text by Lehms; after BWV 199.1; → 199.3 00247
199.3 1. 1723-08-08 Cantata Mein Herze schwimmt im Blut (Trinity XI; Leipzig version) D min. s Ob Str Vc Bc I/20: 23 text by Lehms; after BWV 199.2 00248
199.1 1. 1714-08-12 Cantata Mein Herze schwimmt im Blut (Trinity XI; Weimar version) C min. s Ob Str Bc NBG 132 I/20: 1 text by Lehms; → BWV 199.2 00249
200 1. 1742–1743 (JSB) Aria Bekennen will ich seinen Namen (from a cantata for Purification?) a (2Vl) Bc I/28.1: 189 by Stölzel; arr. by Bach 00250
201 1. autumn 1729 Secular cantata Geschwinde, ihr wirbelnden Winde a.k.a. Der Streit zwischen Phoebus und Pan (dramma per musica) sattbb 3Tr Tmp 2Fl 2Ob Oba Str Bc 112: 1
44: 85		 I/40: 117 text by Picander 00251
202 1. c.1718? Secular cantata Weichet nur, betrübte Schatten (wedding) G maj. s Ob Str Bc 112: 73 I/40: 1 in D-LEb Peters Ms. R 8 00252
203 1. c.1720? Secular cantata Amore traditore A min. b Hc 112: 91 I/41: 31 00253
204 1. 1726–1727 Secular cantata Ich bin in mir vergnügt a.k.a. Von der Vergnügsamkeit B♭ maj. s Fl 2Ob Str Bc 112: 103 I/40: 79 text by Hunold (reworked) 00254
205.1 1. 1725-08-03 Secular cantata Zerreißet, zersprenget, zertrümmert die Gruft a.k.a. Der zufriedengestellte Aeolus (dramma per musica for August Friedrich Müller) D maj. satbSATB 3Tr Tmp 2Hn 2Fl 2Ob Oba Str Va Vdg Bc 112: 137
44: 39		 I/38: 1 text by Picander; → BWV 205.2/1–/7, /9–/11, /13, /15, 171/4, 216/7 00255
205.2 1. 1734-02-19 Secular cantata Blast Lärmen, ihr Feinde (dramma per musica; music lost but largely reconstructable; coronation of Augustus III) D maj. satbSATB 3Tr Tmp 2Hn 2Fl 2Ob Oba Str Va Vdg Bc I/37 after BWV 205.1/1–/7, /9–/11, /13, /15 00256
206.1 1. 1736-10-07
(1734?)		 Secular cantata Schleicht, spielende Wellen (dramma per musica; 1st version: birthday of Augustus III) D maj. satbSATB 3Tr Tmp 3Fl 2Oba Str Bc 202: 1 I/36: 157 → BWV 206.2 00257
206.2 1. 1740-08-03 Secular cantata Schleicht, spielende Wellen (dramma per musica; 2nd version: name day of Augustus III) D maj. satbSATB 3Tr Tmp 3Fl 2Ob 2Oba Str Bc I/36: 157 after BWV 206.1 00258
207.1 1. 1726-12-11 Secular cantata Vereinigte Zwietracht der wechselnden Saiten (dramma per musica; appointment of professor Gottlieb Kortte) D maj. satbSATB 3Tr Tmp 2Fl 2Oba Tai Str Bc 202: 71 I/38: 97 after BWV 1046/3; → BWV 207.2/1, /3, /5, /7–/9 00259
207.2 1. 1735-08-03 Secular cantata Auf, schmetternde Töne der muntern Trompeten (dramma per musica; name day of Augustus III) D maj. satbSATB 3Tr Tmp 2Fl 2Oba Tai Str Bc 202: 139
34: 345		 I/37: 1 after BWV 207.1/1, /3, /5, /7–/9 00260
208.1 1. 1713-02-23 Secular cantata Was mir behagt, ist nur die muntre Jagd a.k.a. Hunting Cantata (1st version: birthday of Christian of Saxe-Weissenfels) F maj. sstb 2Hn 2Fl 2Ob Tai Bas Str Vc Bc (Vne) 29: 1 I/35: 1 text by Franck, S.; → BWV 208.2, 1040, 68/4, /2, 149/1 00261
208.2 1. c.1715 Secular cantata Was mir behagt, ist nur die muntre Jagd a.k.a. Hunting Cantata (2nd version: for Ernst August I of Saxe-Weimar) F maj. sstb 2Hn 2Fl 2Ob Tai Bas Str Vc Bc (Vne) 29: 1 I/35: 1 text by Franck, S.; after BWV 208.1; → BWV 208.3 00262
1040 1. 1713-02-23 Trio (a.k.a. (Canonic) Trio Sonata; postlude to the Hunting Cantata?) F maj. Vl Ob Bc 29: 230 I/35: 1 after BWV 208.1/13; =BWV 208.1/13a 01222
208.3 1. 1742-08-03 Secular cantata Was mir behagt, ist nur die muntre Jagd (3rd version: name day of Augustus III) F maj. sstb 2Hn 2Fl 2Ob Tai Bas Str Vc Bc (Vne)? I/37 text by Franck, S.; after BWV 208.2 00263
209 1. 1747? Secular cantata Non sa che sia dolore (farewell of Lorenz Albrecht Beck?) B min. s Fl Str Bc 29: 43 I/41: 43 00264
210.2 1. 1741-09-19 Secular cantata O holder Tag, erwünschte Zeit (wedding) A maj. s Fl Oba Str Hc Vne 29: 67 I/40: 35 after BWV 210.1/1–/2, /4, /8, /10 00265
210.1 1. 1729-01-12 Secular cantata O angenehme Melodei (incomplete; homage to Christian of Saxe-Weissenfels) A maj. s (Fl Oba Str Bc)? 29: 245 I/39: 141 → BWV 210.2/1–/2, /4, /8, /10 00266
211 1. c.1734 Secular cantata Schweigt stille, plaudert nicht a.k.a. Coffee Cantata G maj. stb Fl Str Hc Bc 29: 139
44: 86		 I/40: 193 text by Picander 00267
212 1. 1742-08-30 Secular cantata Mer hahn en neue Oberkeet a.k.a. Peasant Cantata (Cantate burlesque; homage to Carl Heinrich von Dieskau) G maj. sb Hn Fl Str Bc 29: 173
44: 132		 I/39: 151 text by Picander 00268
213 1. 1733-09-05 Secular cantata Laßt uns sorgen, laßt uns wachen a.k.a. Hercules auf dem Scheidewege (dramma per musica; birthday of Frederick Christian of Saxony) satbSATB 2Hn 2Ob Oba 2Vl 2Va Bc 34: 119 I/36: 1 text by Picander; → BWV 248 00269
214 1. 1733-12-08 Secular cantata Tönet, ihr Pauken! Erschallet, Trompeten! (birthday of queen Maria Josepha) D maj. satbSATB 3Tr Tmp 2Fl 2Ob Oba Str Vne Bc 34: 175 I/36: 89 text by Picander; → BWV 248 00270
215 1. 1734-10-05 Secular cantata Preise dein Glücke, gesegnetes Sachsen (anniversary of the election of Augustus III as king of Poland) D maj. stb2SATB 3Tr Tmp 2Fl 2Ob Oba Str Va Bc 34: 243 I/37: 85 text by Clauder 00271
216.1 1. 1728-02-05 Secular cantata Vergnügte Pleißenstadt (wedding; incomplete) sa &? I/40: 21 text by Picander; after BWV 205/13; → BWV 216.2/1, /3, /5, /7 00272
216.2 1. 1728–1731 Secular cantata Erwählte Pleißenstadt a.k.a. Apollo et Mercurius (incomplete) sa &? I/39 after BWV 216.1/1, /3, /5, /7 00273

References
  1. Eller, R. (Summer 1990). "Thoughts on Bach's Leipzig creative years". Bach. Riemenschneider Bach Institute. 21 (2): 31–54. JSTOR 41640342.
  2. Farstad, Arthur L. (1996). "Grace in the Arts: / An Evangelical Musical Genius: / "J.S.B.: S.D.G."". Journal of the Grace Evangelical Society, Volume 9:16. Archived from the original on 2017-05-06. Retrieved 16 December 2011. Cite journal requires |journal= (help)
  3. Grob, Jochen (2014). "BWV 38 / BC A 152" (in German). s-line.de. Archived from the original on 18 November 2015. Retrieved 15 October 2015.
  4. Gardiner, John Eliot (2010). "Cantatas for the Second Sunday after Trinity / Basilique Saint-Denis, Paris" (PDF). bach-cantatas.com. p. 5. Retrieved 29 June 2011.
  5. 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.
  6. Mincham, Julian (2010). "Chapter 11 BWV 32 Liebster Jesu, mein Verlangen". jsbachcantatas.com. Retrieved 8 January 2013.
  7. Koster, Jan. "Weimar 1708–1717". let.rug.nl. Retrieved 16 December 2011.
  8. Koster, Jan. "Köthen 1717–1723 Part 1 (1717–1720)". let.rug.nl. Retrieved 16 December 2011.
  9. Koster, Jan. "Köthen 1717–1723 Part 2 (1717–1720)". let.rug.nl. Retrieved 16 December 2011.
  10. Wolff, Christoph. "Chorale cantatas from the cycle of the Leipzig church cantatas 1724–25" (PDF). bach-cantatas.com. p. 8. Retrieved 21 November 2011.
  11. Tatiana Shabalina "Recent Discoveries in St Petersburg and their Meaning for the Understanding of Bach’s Cantatas" pp. 77-99 in Understanding Bach 4, 2009
  12. BDW 08233
  13. BDW 08231
  14. BDW 08241
  15. BDW 08184
  16. BDW 08243
  17. BDW 08208
  18. BDW 08247
  19. BDW 08195
  20. BDW 08245
  21. BDW 08300
  22. BDW 08290
  23. BDW 08305
  24. BDW 08310
  25. BDW 08303
  26. BDW 08226
  27. BDW 08308
  28. BDW 08229
  29. Günther Zedler. Die Kantaten von Johann Sebastian Bach: Eine Einführung in die Werkgattung. Books on Demand, 2011. ISBN 9783842357259, p. 26
  30. Picander (=Christian Friedrich Henrici). Ernst-Schertzhaffte und Satyrische Gedichte, Volume III. Leipzig: Joh. Theod. Boetii Tochter (1732; 2nd printing 1737), p. 79ff
  31. Terry, Charles Sanfo (1928). Bach: A Biography. Kessinger Publishing. pp. 160–161. ISBN 9780766146778.
  32. Christoph Wolff; et al. (1983). The New Grove Bach Family. NY: Norton. p. 178. ISBN 0-393-30088-9. (Worklist for J.S. Bach).
  33. "Paris Applauds Bach In Lighter Vein". The New York Times. 30 December 1928. Retrieved 21 November 2011.
  34. "NDR Chor" (PDF). Festkonzert zur Überreichung der Brahms-Medaille der Stadt Hamburg an den NDR Chor (in German). NDR. 19 April 2010. Retrieved 1 June 2017.
  35. "Max Thurn & NDR-Chor & NDR Sinfonieorchester / Bach Cantatas & Other Vocal Works". Bach-Cantatas. Retrieved 17 April 2017.
  36. "Motettenprogramm" [Motets program] (in German). leipzig-online.de. Archived from the original on November 2011. Retrieved 21 November 2011.
  37. "Bachvesper". Retrieved 2017-07-13.
  38. "The Works of Bach". Ton Koopman. 2010. Retrieved 17 October 2010.
  39. Ibbitson, John, "A Bach cantata two decades in the making," Toronto Globe and Mail, Nov. 08, 2013 URL= https://www.theglobeandmail.com/arts/music/a-bach-cantata-two-decades-in-the-making/article15346443/
  40. Siemon-Netto, Uwe (2005). "Why Nippon Is Nuts About J.S. Bach. The Japanese yearn for hope". atlantic-times.com. Archived from the original on 30 September 2011. Retrieved 21 November 2011.
  41. Petersen-Mikkelsen, Birger (2003). Praedicatio sonora. Musik und Theologie bei Johann Sebastian Bach, in: Kirchenmusik und Verkündigung – Verkündigung als Kirchenmusik. Zum Verhältnis von Theologie und Kirchenmusik (in German). Eutiner Beiträge zur Musikforschung 4, Eutin. p. 47.
  42. Bach-Gesellschaft Ausgabe, .../Prefaces, .../Thematic Catalogue: documentation and facsimiles at the International Music Score Library Project (IMSLP)
  43. Neue Bach-Ausgabe: documentation at the International Music Score Library Project (IMSLP)

Further reading
  • NBA Neue Bach-Ausgabe, Bärenreiter, 1954 to 2007
  • BWV Bach-Werke-Verzeichnis, Breitkopf & Härtel, 1998
  • Dürr, Alfred (1971). Die Kantaten von Johann Sebastian Bach (in German). 1. Bärenreiter-Verlag. OCLC 523584.
  • Alfred Dürr: The Cantatas of J.S. Bach, Oxford University Press, 2006. ISBN 0-19-929776-2
  • Christoph Wolff/Ton Koopman: Die Welt der Bach-Kantaten Verlag J.B. Metzler, Stuttgart, Weimar 2006 ISBN 978-3-476-02127-4 (in German)
  • Werner Neumann: Handbuch der Kantaten J.S.Bachs, 1947, 5th ed. 1984, ISBN 3-7651-0054-4
  • Hans-Joachim Schulze: Die Bach-Kantaten: Einführungen zu sämtlichen Kantaten Johann Sebastian Bachs Leipzig: Evangelische Verlags-Anstalt; Stuttgart: Carus-Verlag 2006 (Edition Bach-Archiv Leipzig) ISBN 3-374-02390-8 (EVA), ISBN 3-89948-073-2 (in German)
  • Luigi Ferdinando Tagliavini. Studi sui testi delle Cantate sacre di J. S. Bach. Università di Padova, pubblicazioni della Facoltà di Lettere e Filosofia, vol. XXXI, Padova & Kassel, 1956, xv-291
  • Geoffrey Turner. "Singing The Word: The Cantatas of J S Bach". New Blackfriars, volume 87, issue 1008, pp. 144–154
  • J. C. J. Day. "The texts of Bach's Church cantatas: some observations". German Life and Letters, volume 13 (1960), num. 2, pp. 137–144
  • Harald Streck. Die Verskunst in den poetischen Texten zu den Kantaten J. S. Bachs. Dissertation: Universität Hamburg 1971, 214 pages
  • Walter F. Bischof. The Bach Cantatas University of Alberta 2003–2010
  • Z. Philip Ambrose Texts of the Complete Vocal Works with English Translation and Commentary University of Vermont 2005–2011
  • Robin Boyle. The Listener's Guide to the Bach Church Cantatas, 2012. ISBN 978-1-4716-6705-3
  • Complete Bach Cantatas. 12 volumes. Tarnhelm Ed. 2010.http://www.bach-cantatas.com/Books/S0102.htm

Links are found for the individual cantatas:

  • Craig Smith: programme notes, Emmanuel Music
  • Walter F. Bischof: The Bach Cantatas, University of Alberta
  • Z. Philip Ambrose: Texts of the Complete Vocal Works with English Translation and Commentary, University of Vermont
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