List of masses, passions and oratorios by Johann Sebastian Bach
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:
- Chapter 3: Messen, Messensätze, Magnificat (Masses, Mass movements, Magnificat), original range: BWV 232–243
- Chapter 4: Passionen, Oratorien (Passions, Oratorios), original range: BWV 244–249
| Lists of |
| Compositions by Johann Sebastian Bach |
|---|
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
Masses, mass movements and Magnificat
Mass with all usual sections
- BWV 232 – Mass in B minor
Kyrie–Gloria masses
- BWV 232I, early version – Missa in B minor for the Dresden court (1733), re-used as part I of the Mass in B minor
- BWV 233 – Missa in F major
- BWV 234 – Missa in A major
- BWV 235 – Missa in G minor
- BWV 236 – Missa in G major
Cantata based on BWV 232I
- BWV 191 – Cantata Gloria in excelsis Deo
Separate mass movements
- BWV 232II, early version – Credo in G major (1748–49?)
- BWV 232III, early version – Sanctus for six vocal parts (1724)
- BWV 233a – Kyrie "Christe, du Lamm Gottes" in F major (early version of Kyrie from BWV 233)
- BWV 237 – Sanctus in C major
- BWV 238 – Sanctus in D major
- BWV 239 – Sanctus in D minor (based on the first section of the Gloria of Antonio Caldara's Missa Providentiae)[2]
- BWV 240 – Sanctus in G major
- BWV 241 – Sanctus in D major (arrangement of Sanctus from Johann Caspar Kerll's Missa superba)
- BWV 242 – Christe eleison in G minor (composed by Bach for a mass by Francesco Durante, BWW Anh. 26)[3]
Latin Magnificat
- BWV 243 – Magnificat in D major
- BWV 243a – Magnificat in E-flat major, early version of BWV 243, containing four Latin and German interpolations related to Christmas
German Magnificat cantatas
- BWV 10 – Meine Seel erhebt den Herren (German Magnificat)
- BWV 189 – Meine Seele rühmt und preist on a German paraphrase of the Magnificat text, attributed to Melchior Hoffmann.[4][5]
- BWV Anh. 21 – Meine Seel erhebt den Herren (Kleine Magnificat), by Melchior Hoffmann.[6][7][8]
Other
- BWV 1081 – Credo intonation in F major for a Mass by Giovanni Battista Bassani, BDW 01267
- BWV 1082 – Bach's copy of the Suscepit Israel of Antonio Caldara's Magnificat in C major.[9]
- BWV 1083 – Tilge, Höchster, meine Sünden, Bach's adaptation of Pergolesi's Stabat Mater.
- BWV Anh. 24 – Kyrie and Gloria in A minor from "Missa Sancti Lamberti" by Johann Christoph Pez; Bach copied its Kyrie in Weimar, adding a line different from the original continuo; Its Gloria was copied without modification in Leipzig.[10]
- BWV Anh. 25 – Kyrie–Gloria Mass in C major[9] (sometimes attributed to Johann Ludwig Bach,[11] copied & performed by J. S. Bach c.1740-1742).
- BWV Anh. 26 – Mass in C minor: Scores at the International Music Score Library Project (IMSLP) (by Francesco Durante; see above Christe eleison in G minor, BWV 242)
- BWV Anh. 27 – Sanctus in F major by Johann Ludwig Krebs.[9]
- BWV Anh. 28 – Sanctus in B major[9] (composer unknown).
- BWV Anh. 29 – continuo part for a Mass in C minor[12]
- BWV Anh. 30 – Magnificat in C major for SSAATTBB choir and orchestra attributed to Antonio Lotti, and later to Pietro Torri (copied by Bach around 1742)[13][14]
- BWV Anh. 166 – Missa super cantilena "Allein Gott in der Höh sei Ehr": Kyrie–Gloria Mass in E minor composed in 1716 by Johann Ludwig Bach,[15] previously attributed to Johann Nicolaus Bach,[16] with part scores written out by J. S. Bach and others for performance in 1729, and a small addition (5 bars) by J. S. Bach at the beginning of the Gloria.[17][15] The text of the Gloria is partly in German: it intersperses the Latin text of the Gloria with, as cantus firmus, all four stanzas of "Allein Gott in der Höh sei Ehr" (which is itself a paraphrase of the Gloria), a Lutheran hymn by Nicolaus Decius and Joachim Slüter.[15]
- BWV Anh. 167 – Kyrie–Gloria Mass in G major for double SATB choir and orchestra, possibly by Johann Ludwig Bach or Antonio Lotti.[18][9] One of its 18th-century manuscript copies is partially in J. S. Bach's handwriting.[19] Published and performed as J. S. Bach's in 1805.[20]
- BWV Anh. 168 – Kyrie (and German Gloria) composed by Wilhelm Friedemann Bach, BDW 01479
- BWV deest – Bach's transposition from D minor to E minor and colla parte orchestration for the first two movements of Palestrina's Missa Sine nomine a 6, to be performed in Leipzig in the early 1740s as a Kyrie–Gloria Mass for SSATTB choir, and an orchestra consisting of cornets, trombones and continuo.[21][22][9]
Passions and oratorios
Passions composed by Bach
- BWV 244 – St Matthew Passion (Matthäus-Passion)
- BWV 244b – St Matthew Passion, early version(s)
- BWV 245 – St John Passion (Johannes-Passion), various versions, including:[23]
- St. John Passion, 2nd version, with opening chorus "O Mensch, bewein dein Sünde groß" (1725), BDW 00308, containing:
- BWV 245a – Aria "Himmel reiße, Welt erbebe"
- BWV 245b – Aria "Zerschmettert mich, ihr Felsen und ihr Hügel"
- BWV 245c – Aria "Ach, windet euch nicht so, geplagte Seelen"
- St. John Passion, Bach's last revision (1749), BDW 00310
- St. John Passion, 2nd version, with opening chorus "O Mensch, bewein dein Sünde groß" (1725), BDW 00308, containing:
- BWV 247 – St Mark Passion (Markus-Passion) (libretto is extant; although the music is lost much of it is reconstructable based on associated compositions)
- BWV deest – Weimarer Passion (lost, music partially recuperated in other compositions), BDW 01533
Passions by other composers with movements by Bach
- BWV 246 – St Luke Passion (Lukas-Passion) by an unknown composer and librettist, includes one movement by Bach:
- BWV 246/40a – Chorale "Aus der Tiefen rufe ich", BDW 00312
- BWV deest – St Mark Passion (attributed to Keiser), surviving in various (pasticcio) versions, with three movements associated with Bach:
- BWV deest – Passion oratorio Wer ist der, so von Edom kömmt (pasticcio), with three movements associated with Bach:
Other vocal compositions associated with Passion music
- BWV 244a – Trauermusik Klagt, Kinder, klagt es aller Welt (funeral cantata), music lost but largely reconstructable based on BWV 244b and 198
- BWV 200 – Aria "Bekennen will ich seinen Namen", arranged by Bach from a Passion oratorio by Gottfried Heinrich Stölzel, BDW 00250
Spurious
- BWV Anh. 169 – Passion text Erbauliche Gedanken auf den Grünen Donnerstag und Charfreitag über den Leidenden Jesum by Picander, not set by Bach (apart from some movements of the St Matthew Passion)
Oratorios and associated cantatas
- BWV 248 – Christmas Oratorio (Weihnachts-Oratorium), consisting of six cantatas composed for the Christmas season of 1734–1735:
- BWV 248I – Cantata Jauchzet, frohlocket! Auf, preiset die Tage
- BWV 248II – Cantata Und es waren Hirten in derselben Gegend
- BWV 248III – Cantata Herrscher des Himmels, erhöre das Lallen
- BWV 248IV – Cantata Fallt mit Danken, fallt mit Loben
- BWV 248V – Cantata Ehre sei dir, Gott, gesungen
- BWV 248VI – Cantata Herr, wenn die stolzen Feinde schnauben
- BWV 248VIa – textless cantata, model for BWV 248VI.[25]
- BWV 249 – Easter Oratorio (Oster-Oratorium), also known by its incipit Kommt, eilet und laufet
- BWV 249a – Secular cantata Entfliehet, verschwindet, entweichet, ihr Sorgen
- BWV 249b – Secular cantata Verjaget, zerstreuet, zerrüttet, ihr Sterne
- BWV 11 – Ascension Oratorio (Himmelfahrts-Oratorium), previously known as Cantata Lobet Gott in seinen Reichen
Compositions in the third and fourth chapters of the Bach-Werke-Verzeichnis (1998)
| column | content | |
|---|---|---|
| 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:
|
| 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.[26] |
| 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:[27]
|
| 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) | ||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|
| 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 |
|---|---|
| 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/1 e. v., III e. v., 171/1, 12/2, 120/2, Anh. 11/1, Anh. 196/3 | 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; → BWV 191, 232I | 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 | 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 | 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 | 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 | 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 | 01267 | |
| 237 | 3. | 1723-06-24? | Sanctus | C maj. | SATB 3Tr Tmp 2Ob Str Bc | 111: 67 | II/2: 311 | 00296 | |
| 238 | 3. | 1723-12-25 1736–1737 |
Sanctus | D maj. | SATB Cnt Str Bc | 111: 79 | II/2: 325 | 00297 | |
| 240 | 3. | 1742 (JSB) | Sanctus | G maj. | SATB 2Ob Str Bc | 111: 93 | II/9: 3 | 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 | by Kerll; arr. by Bach | 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 | → 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 | 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 | → 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 | by Caldara (BNB I/C/1); arr. by Bach | 01268 | |
| 1083 | 3. | 1745–1747 (JSB) | Cantata Tilge, Höchster, meine Sünden | sa 2Vl Str Vne Vc Bc | I/41: 169 | by Pergolesi; arr. by Bach; 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 | text by Picander, Albert of Prussia, Decius, Gerhardt, Heermann, Heyden, Reusner, Rist; after BWV 244.1 | 00304 |
| 244a |
|
|
|
|
|
|
|
see BWV 1143 | 00305 |
| 244.1 | 4. | 1727-04-11 and/or 1729-04-15 |
Passion St Matthew Passion (early version; Good Friday) | E min. | satb2SATB 4Fl 4Ob 4Oba 2Odc 2Str Lu Bc | II/5a II/5b |
text by Picander, Albert of Prussia, Decius, Gerhardt, Heermann, Keymann, Reusner, Rist; ↔ BWV 198, 244a; → BWV 244.2 | 00306 | |
| 245.1 | 4. | 1724-04-07 | Passion St John Passion (1st version; Good Friday) | satbSATB (2Fl?) 2Ob 2Odc Str 2Va Vdg Lu Bc | 121 44: 26 |
II/4: 40 | text by Heermann, Luther, Gerhardt, Stockmann, Weiße, Herberger, Schalling; → BWV 245.1–v4 | 00307 | |
| 245.2 | 4. | 1725-03-30 | Passion St John Passion (2nd version; Good Friday) | satbSATB 2Fl 2Ob 2Odc Str Vdg Bc | 121 | II/4: 167 | text by Heyden, Heermann, Luther, Gerhardt, Stockmann, Weiße, Herberger, Schalling; after BWV 23/4, 245.1; → BWV 244/29, 245.3 | 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 | text by Heermann, Luther, Gerhardt, Stockmann, Weiße, Herberger, Schalling; after BWV 245.1–.2; → BWV 245, inc. rev., v4 | 00309 | |
| 245, inc. rev. | 4. | 1739 | Passion St John Passion (incomplete revision) | satbSATB Fl 2Ob Str Bc | 121 44: 26 |
II/4 | text by Heermann, Luther, Gerhardt, Stockmann, Weiße, Herberger, Schalling; after BWV 245.1–.3; → BWV 245, v4 | 11076 | |
| 245, v4 | 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 | text by Heermann, Luther, Gerhardt, Stockmann, Weiße, Herberger, Schalling; after BWV 245.1–inc. rev. | 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 | |||
| 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 | text by Picander?, Gerhardt, Luther; after BWV 214/1, /7, 213/9 | 00314 |
| 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 | text by Picander?, Rist, Gerhardt; after BWV 214/5, 213/3 | 00314 |
| 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 | text by Picander?, Gerhardt, Luther, Runge; after BWV 214/9, 213/11 | 00314 |
| 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 | text by Picander?, Rist; after BWV 213/1, /5, /7 | 00314 |
| 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: 128 | II/6 | text by Picander?, Weissel, Franck, J.; after BWV 247/39b, 215/7 | 00314 |
| 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 | text by Picander?, Gerhardt, Werner; after BWV 248VIa | 00314 |
| 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 | text by Picander?; after BWV 249.3 | 00316 | |
| 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 | text by Picander?; after BWV 249.1; → BWV 249.5 | 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 | text by Picander; after BWV 249.1/1–/3, /5, /7, /9, /11 | 00319 | |||
| 11 | 4. | 1735-05-19 | Oratorio Lobet Gott in seinen Reichen (Ascension Oratorio; Ascension) | satbSATB 3Tr Tmp 2Fl 2Ob Str Bc | 2: 1 | II/8 | text by Picander?, Rist, Sacer | 00013 | |
References
- The New Bach Edition, Series II: Masses, Passions, Oratorios at the Bärenreiter website
- Bach Digital Work 00298
- Boyd, Malcolm (1999). Oxford Composer Companions: J.S. Bach. Oxford, England: Oxford University Press. pp. 299. ISBN 0-19-866208-4.
- Cantata BWV 189 Meine Seele ruhmt und preist at www
.bach-cantatas .com - Georg Melchior Hoffmann: Meine Seele rühmt und preist at www
.carus-verlag .com - Spitta 1884, p. 374 ff.
- Frederick Hudson and Alfred Dürr. "An Investigation into the Authenticity of Bach's 'Kleine Magnificat'" in Music and Letters XXXVI (3), 1955 – pp. 233-236
- Andreas Glöckner. "Die Leipziger Neukirchenmusik und das 'Kleine Magnificat' BWV Anh. 21" in Bach-Jahrbuch 1982, pp. 97-102
- Kirsten Beißwenger (ed.) Werke zweifelhafter Echtheit, Bearbeitungen fremder Kompositionen (Volume 9 of Series II: Masses, Passions, Oratorios from the New Bach Edition). Bärenreiter, 2000.
- Mass, a BWV Anh. 24 / Anh. III 167‑>; BNB I/P/6 at www
.bach-digital .de - Missa (Kyrie and Gloria), C BWV Anh. 25; BNB I/An/1 at www
.bachdigital .de - Mass, c BWV Anh. 29; BNB I/An/2 at www
.bach-digital .de - Magnificat in C BWV Anh. 30; BNB I/An/7 at www
.bach-digital .de - Magnificat in C major BWV Anh 30 at www
.bach-cantatas .com - Mass in E minor, BWV Anh 166 at www
.bach-cantatas .com - Geiringer, Karl and Irene. The Bach Family: Seven Generations of Creative Genius, footnote p. 117. New York: Oxford University Press, 1954.
- Missa (Kyrie and Gloria), e JLB 38; BWV Anh. 166; BNB I/B/18 at www
.bachdigital .de - Missa, G BWV Anh. 167; BNB I/An/3 at www
.bach-digital .de - D-B Mus. ms. Bach P 659 at www
.bach-digital .de - Alfred Dörffel. "Statistik der Concerte im Saale des Gewandhauses zu Leipzig" p. 3, in Geschichte der Gewandhausconcerte zu Leipzig vom 25. November 1781 bis 25. November 1881: Im Auftrage der Concert-Direction verfasst. Leipzig, 1884.
- Giovanni Pierluigi da Palestrina Missa sine nomine a 6 at www
.bach-cantatas .com - Missa sine nomine (arr. of Kyrie and Gloria, copy of the following movements) at www
.bach-digital .de - The New Bach Edition – Revised Edition
- Morton, Wyant (1992). Questions of authenticity in three motets attributed to Johann Sebastian Bach (Thesis) (PDF). University of Arizona. pp. 11–25.
- Bach Digital Work 00315
- Bach-Gesellschaft Ausgabe, .../Prefaces, .../Thematic Catalogue: documentation and facsimiles at the International Music Score Library Project (IMSLP)
- Neue Bach-Ausgabe: documentation at the International Music Score Library Project (IMSLP)
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