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No.
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Date.
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Title.
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Author of Libretto.
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Composition of the Text.
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22
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1723. Quinquagesima. (“Estomihi”).
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Jesus nahm zu sich die Zwölfe (St. Luke xviii. 31). [See No. 31 (1715).]
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?Bach (composed at Cöthen). Trial Cantata (February 7, 1723).
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St. Luke xviii. 31, 34; Stanza v. of Elisabothe Gruciger's hymn, “Herr Christ, der einig' Gott's Sohn”; rest original. A. T. B. Soli.
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|
75
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1723 (May 30). First S. after Trinity.
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Die Elenden sollen essen (Psalm xxii. 26).
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?Christian Weiss, senr.
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Part I.: Psalm xxii. 26; Stanza v. of Samuel Rodigast's hymn, “Was Gott thut, das ist wohlgethan”; Part II.: Stanza v. of the same hymn (repeated); rest of libretto, both parts, original.
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76
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1723. Second S. after Trinity. Also for Reformation Festival.
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?Christian Weiss, senr.
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Die Himmel erzahlon die Ehre Gottes (Psalm xix. 1, 3).
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Part I.: Psalm xix. 1,3; Stanza i. of Luther's hymn, “Es woll' uns Gott genädig sein”; Part II.: Stanza iii. of the same hymn; rest of libretto original. See Spitta ii. 357n.
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24
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1723. Fourth S. after Trinity.
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Ein ungefarbt Gemüthe.
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Erdmann Neumeister (“Fünffache Kirchen-Andachten”) (Ser. IV.).
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St. Matthew vii. 12; Stanza i. of Johann Heer-mann's hymn, “O Gott, du frommer Gott”; rest of libretto original. A. T. B. Soli.
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186
|
1723. Seventh S. after Trinity.
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Aergre dich, O Seele, nicht.
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The opening chorus and first two Arias are by Salomo Franck (“Evangelische Sonn- und Fest-Tages,” p. 6), written for the Third S. in Advent, perhaps composed by Bach at Weimar. The remainder of the libretto was added in 1723 for the Seventh S. after Trinity. Both Gospels relate Christ's miracles.
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Part I.: Stanza xii. of Paul Speratus' hymn, “Es ist das Heil uns kommen her.”
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†164
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1723 (or 1724). Thirteenth S. after Trinity.
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Ihr, die ihr euch von Christo nennet.
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Salomo Franck (“Evangelisches Andachts-Opffer,” 1715, p. 152).
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Stanza v. of Elisabethe Cruciger's hymn, “Herr Christ, der einig' Gott's Sohn”; rest of libretto original. Perhaps written at Weimar.
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119
|
1723. Inauguration of Town Council (Aug. 30).
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Preise, Jerusalem, den Herrn (Psalm cxlvii. 12.)
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?Christian Weiss, senr.
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Psalm cxlvii. 12-14; clauses xxii. and xxiii. of the “Te Deum”; rest of libretto original.
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194
|
1723. Opening of the Organ at Störmthal (November 2); later (1731) for Trinity Sunday. [See No. 70 (1716).]
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Höchsterwünschtes Freudenfest.
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?Bach.
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Part I.: Stanzas vi. and vii. of Johann Heermann's hymn, “Treuer Gott, ich muss dir klagen”; Part II.: Stanzas ix. and x. of Paul Gerhardt's hymn, “Wach auf, mein Herz, und singe.” Rest of libretto original. S. T. B. Soli.
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63
|
?1723. Christmas Day.
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Christen ätzet diesen Tag.
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?Bach. The opening two lines suggested by a poem in Joh. Jakob Bambach's “Geistliche Poesien” (Halle, 1720).
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Original throughout.
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40
|
?1723. Feast of St. Stephen.
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Dazu ist erschienen der Sohn Gottes (1 John iii. 8).
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Christian Weiss, senr. Wustmann (note 8) suggests Bach. Certainly same author as Nos. 64, 65 infra.
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1 John iii. 8; Stanza iii. of Caspar Fuger's hymn, “Wir Christenleut'”; Stanza ii. of Paul Gerhardt's hymn, “Schwing' dich auf zu deinem Gott”; Stanza iv. of Christian Keimann's hymn, “Freuet euch, ihr Christen alle”; rest of libretto original. A. T. B. Soli.
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64
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?1723. Feast of St. John the Evangelist.
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Sehet, welch' eine Liebe hat uns der Vater erzeiget (1 John iii. 1).
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Christian Weiss, senr. Certainly same author as Nos. 40 supra and 65 infra.
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1 John üi. 1; Stanza vü. of Luther's hymn, “Gelobet seist du, Jesu Christ”; Stanza i. of Georg Michael Pfefferkorn's hymn, “Was frag ich nach der Welt”; Stanza v. of Johann Franck's hymn, “Jesu, meine Freude”; rest of libretto original. S. A. B. Soli.
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16
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?1724. New Year's Day. Spitta (ii. 386, 413) regards No. 190 (infra) as Bach's first Leipzig New Year Cantata, and dates No. 16, 1723-27.
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Herr Gott dich loben wir.
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?Bach.
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Clauses i. and ii. of Luther's “Te Deum”; Stanza vi. of Paul Eber's hymn, “Helft mir Gott's Güte preisen”; rest of libretto original. A. T. B. Soli.
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†153
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1724. Sunday after the Circumcision.
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Schau', lieber Gott, wie meine Feind'.
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?Bach.
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Stanza i. of David Denicke's (?) hymn,
“Schau', lieber Gott, wie meine Feind'”;
Isaiah xli. 10; Stanza v. of Paul Gerhardt's
hymn, “Befiehl du deine Wege”; Stanzas
xi. and xii. (as three verses) of Martin
Moller's (?) hymn, “Ach Gott, wie manches
Herzeleid”; rest of libretto original.
A. T. B. Soli.
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65
|
1724. Feast of the Epiphany.
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Sie werden aus Saba Alle kommen (Isaiah lx. 6).
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?Christian Weiss, senr. Wustmann (note 23) attributes text to author
of Nos. 40 and 64 supra, i.e. Bach.
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Isaiah lx. 6; Stanza iv. of the anonymous hymn, “Ein Kind geborn zu Bethlehem”;
Stanza x. of Paul Gerhardt's hymn, “Ich hab' in Gottes Herz und Sinn”; rest original. A. T. B. Soli.
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†154
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1724. First S. after the Epiphany.
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Mein liebster Jesus ist verloren.
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?Bach. Wustmann (note 25) attributes it to an anonymous author.
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Stanza ii. of Martin Janus' hymn, “Jesu, meiner Seelen Wonne”; St. Luke ü. 49;
Stanza vi. of Christian Keimann's hymn,
“Meinen Jesum lass' ich nicht”; rest original. A. T. B. Soli.
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†81
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1724. Fourth S. after the Epiphany.
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Jesus schlaft, was soll ich hoffen?
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?Bach. Wustmann regards texts of Nos. 81 and 154 as being by the same hand (note 35).
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St. Matthew viii. 26; Stanza ii. of Johann Franck's hymn, “Jesu, meine Freude”; rest of libretto original. A. T. B. Soli.
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†83
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?1724. Feast of the Purification.
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Erfreute Zeit im neuen Bunde.
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?Bach.
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St. Luke ii. 29, 30; Stanza iv. of Luther's hymn, “Mit Fried' und Freud' ich fahr'
dahin”; rest of libretto original. A. T. B. Soli.
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23
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1724. Quinquagesima (“Estomihi”). ?Composed at Cöthen. Spitta (ii. 679) holds this, and not No. 22, to have been Bach's first Quinquagesima Cantata at Leipzig.
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Du wahrer Gott und Davids Sohn.
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?Bach
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Three stanzas of “Christe, du Lamm Gottes”; rest of libretto original. S. A. T. Soli.
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4
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1724. Easter Day (“Am Osterfeste”)
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Christ lag in Todesbanden
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Luther.
|
Choral Cantata. The seven stanzas of the hymn are set in their original form.
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12
|
1724 (or 1725). Third S. after Easter
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Weinen, Klagen, Sorgen, Zagen.
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?Salomo Franck.
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Acts xiv. 22; Stanza vi. of Samuel Rodigast's hymn, “Was Gott thut, das ist wohlgethan”; rest of libretto original. A. T. B. Soli.
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172
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1724 (or 1725). Whit Sunday. Perhaps revised c. 1727-30 (see Schweitzer, ii. 162).
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Erschallet ihr Lieder.
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?Salomo Franck (Spitta ii. 398). Wustmann (note 73) does not support the conjecture.
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St. John xiv. 23 Stanza iv. of Philipp Nicolai's hymn, “Wie schön leuchtet der Morgenstern”; rest of libretto original. Organ obbligato.
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184
|
1724. Whit Tuesday.
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Erwunschtes Freudenlicht.
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?Bach. An adaptation of an earlier secular Cantata (Spitta, ii. 399).
|
Stanza vüi. of Anark of Wildenfeis' (?) hymn, “O Herre Gott, dein göttlich Wort”; rest of libretto original. S. A. T. Soli.
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†165
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?1724. Trinity Sunday.
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O heil'ges Geist und Wasserbad
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Salomo Franck (“Evangelisches Andachte-Opffer”, 1715, p. 111)
|
Stanza v. of Ludwig Helmbold's hymn “Nun lasst uns Gott dem Herren”, rest of libretto original.
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179
|
?1724. Eleventh S. after Trinity.
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Siehe zu, dass deine Gottesfurcht nicht Heuchelei sei (Ecclesiastes i. 28)
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?Christian Weiss, senr.
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Ecclesiastes i. 28, Stanza i. of Christph Tietze's hymn, “Ich armer Mensch, ich armer Sünder”, rest original S. T. B. Soli.
|
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69
|
?1724. Twelfth S. after Trinity, c. 1730 adapted as a Ratswahl cantata.
|
Loben dem herren, meine Seele (Psalm cxlix. 1).
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As extended in 1730 the text is in Picander's “Cantaten”, 1728-29. His authorship of the 1725 text is not therefore established.
|
Psalm cxlix. 1, Psalm cl. 4,6; Clauses i. and ii. of the “Te Deum”, Stanza ii. of Johann Hermann's hymn, “Jesu, nun sei gepreiset”; rest of libretto original. A. T. B. Soli.
|
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190
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c. 1725 (or 1724). New Year's Day; revised to celebrate the Augsburg Confession Jubilee on June 25, 1730.
|
Singet dein Herrn ein neues Lied (Psalm cxlix. 1).
|
As extended in 1730 the text is in Picander's “Cantaten”, 1728-29. His authorship of the 1725 text is not therefore established.
|
Psalm cxlix 1; Psalm cl. 4,6; Clauses i. and ii. of the “Te Deum”; Stanza ii. of of Johann Hermann's hymn, “Jesu, nun se gepreiset”, rest of libretto original. A. T. B. Soli.
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†73.
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c. 1725. Third S. after the Epiphany
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Herr, wie du willt, so shick's mit mir.
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Author unknown. Spitta's (ii. 414) attribution of the text to Picander is inadequately founded.
|
Stanza i. of Caspar Bienemann's hymn, “Herr, wie du willt, so shick's mit mir”; Stanza ix. of Ludwig Helmhold's hymn, “Von Gott will ich nich lassen”; rest original. S. T. B. Soli
|
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144
|
c. 1725. Septuagesima
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Nimm was dein ist, und gehe hin (St. Matthew xx. 14).
|
Wustmann (note 37) suggests Picander, with Bach's additions. Schweitzer (ii. 200)
supposes that the music is adapted.
|
St. Matthew xx. 14; Stanza i. of Samuel Rodigast's hymn, “Was Gott thut, das ist wohlgethan”; Stanza i. of Albrecht of Brandenburg-Culmbach's hymn, “Was mein Gott will, das g'scheh' allzeit”; rest of libretto original. S. A. T. Soli.
|
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181
|
1725. Sexagesima.
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Leichtgesinnte Flattergeister.
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?Picander.
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Original throughout.
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67
|
c. 1725. First S. after Easter (“Quasi-modogeniti”).
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Halt' im Gedachtniss Jesum Christ (2 Timothy ii. 8).
|
?Christian Weiss, senr. Certainly not Picander, as Spitta (ii. 417) suggests.
|
2 Timothy ü. 8; Stanza i. of Nikolaus Herman's hymn, “Erschienen ist der herrlich' Tag”; Stanza i. of Jakob Ebert's hymn, “Du Friedenfürst, Herr Jesu Christ”; rest of libretto original. A. T. B. Soli.
|
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104
|
c. 1725. Second S. after Easter (“Misericordias Domini”).
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Du Hirte Israel, höre (Psalm lxxi. 1).
|
?Christian Weiss, senr.
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Psalm lxxx. 1; Stanza i. of Cornelius Becker's hymn, “Der Herr ist mein getreuer Hirt”; rest of libretto original. T. B. Soli.
|
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† 166
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c. 1725. Fourth S. after Easter (“Cantate”).
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Wo gehest du hin? (St. John xvi. 6).
|
?Christian Weiss, senr.
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St. John xvi. 5; Stanza iii. of Bartholomäus Ringwaldt's hymn, “Herr Jesu Christ, ich weiss gar wohl”; Stanza i. of Emilie Juliane of Schwarzburg-Rudolstadt's hymn, “Wer weiss, wie nahe mir mein Ende”; rest of libretto original.
|
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†86
|
c. 1725. Fifth S. after Easter (“Rogate”).
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Wahrlich, wahrlich, ich sage euch (St. John xvi. 23).
|
?Christian Weiss, senr.
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St. John xvi. 23; Stanza xvi. of Georg Grüenwald's hymn, “Kommt her zu mir, spricht Gottes Sohn”; Stanza xi. of Paul Speratus' hymn, “Es ist das Heil uns kommen her”; rest of libretto original.
|
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44
|
c. 1725. Sixth S. after Easter (S. after the Ascension) (“Exaudi”).
|
Sie werden euch in den Bann thun (St. John xvi. 2)
|
?Christian Weiss, senr.
|
St. John xvi. 2; Stanza i. of Martin Moller's(?) hymn, “Ach Gott, wie manches Herzeleid”; Stanza xv. of Paul Flemming's hymn, “In allen meinen Thaten”; rest of the libretto original.
|
|
20
|
c. 1725. First S. after Trinity. In its existing form the work is c. 1735.
|
O Ewigkeit, du Donnerwort.
|
Johann Rist (arranged). (?Picander).
|
Choral Cantata (2 Parts). Stanzas i., xi., xvi. are retained in thoir original form. Stanzas ii.-x. are paraphrased in the Arias and Recitativi. A. T. B. Soli.
|
|
†167
|
c. 1725. Feast of St. John Baptist (MidsummerDay)
|
Ihr Menschen, rühmet Gottes liebe.
|
Author unknown. Spitta (ii. 423) remarks on the “vapid emptiness” of the text.
|
Stanza v. of Johann Graumann's hymn, “Nun lob', mein' Seel', den Herren”; rest of libretto original. The Choral is extended.
|
|
136
|
c. 1725 (or later). Eighth S. after Trinity.
|
Erforsche mich, Gott, und erfahre mein Herz (Psalm cxxxix. 23).
|
?Christian Weiss, senr. Schweitzer (ii. 200) supposes that the music is adapted.
|
Psalm cxxxix. 23; Stanza ix. of Johann Heermann's hymn, “Wo soll ich fliehen hin”; rest of libretto original. A. T. B. Soli.
|
|
†168
|
c. 1725. Ninth S. after Trinity. Perhaps composed at Weimar.
|
Thue Rechnung! Donnerwort!
|
Salomo Franck (“Evangelisches Andachts-Opffer,” 1715, p. 141).
|
Stanza viii. of Bartholomaus Ringwaldt's hymn, “Herr Jesu Christ, du hochstes Gut”; rest of libretto original.
|
|
105
|
c. 1725. Ninth S. after Trinity.
|
Herr, gehe nicht in's Gericht (Psalm cxliii. 2).
|
?Christian Weiss, senr.
|
Psalm cxliii. 2; Stanza xi. of Johann Rist's hymn, “Jesu, der du moine Seele”; rest of libretto original.
|
|
46
|
c. 1725. Tenth S. after Trinity.
|
Schauet doch und sehet, ob irgend ein Schmerz sei (Lam. i. 12).
|
?Christian Weiss, senr.
|
Lamentations i. 12; Stanza ix. (apocryphal) of Balthasar Schnurr's hymn, “O grosser Gott von Macht”; rest original. A. T. B. Soli.
|
|
77
|
1725. Thirteenth S. after Trinity.
|
Du sollst Gott, deinen Herren, lieben (St. Luke x. 27).
|
?Christian Weiss, senr.
|
St. Luke x. 27; Stanza viii. of David Denicke's (?) hymn, “Wenn einer alle Ding verstünd” (posthumously added to Bach's text); rest of libretto original.
|
|
8
|
c. 1725. Sixteenth S. after Trinity.
|
Liebster Gott, wann werd' ich sterben?
|
Caspar Neumann (arranged by ?Picander).
|
Choral Cantata. Stanzas i. and v. are retained in their original form. Stanzas ii.-iv. are paraphrased in the Arias and Recitativi.
|
|
148
|
c. 1725. Seventeenth S. after Trinity.
|
Bringet dem Herrn Ehre seines Namens (Psalm xcvi. 8).
|
The groundwork is by Picander (“Sammlung Erbaulicher Gedancken,” Leipzig, 1725, p. 428), arranged by Bach. This is the earliest ascertained association of Bach and Picander (date ?Sept. 23, 1725).
|
Psalm xcvi. 8, 9; Stanza xi. of Johann Heermann's hymn, “Wo soll ich fliehen hin” (suggested by Spitta, ii. 694; wanting in the score); rest of libretto original. A. T. B. Soli.
|
|
72
|
c. 1726 (or earlier). Third S. after the Epiphany.
|
Alles nur nach Gottes Willen.
|
Salomo Franck (“Evangelisches Andachts-Opffer,” 1715, p. 35).
|
Stanza i. of Albrecht of Brandenburg-Culmbach's hymn, “Was mein Gott will, das g'scheh' allzeit”; rest original. A. S. B. Soli.
|
|
19
|
1726. Feast of St. Michael the Archangel.
|
Es erhub sich ein Streit.
|
The groundwork of the text is a libretto for the season published by Picander in 1725. The Cantata version probably is by Bach himself. Spitta's (ii. 344) attribution of it to Picander is ill-founded.
|
Stanza ix. of the anonymous hymn, “Freu' dich sehr, O meine Seele”; rest of libretto original. S. T. B. Soli.
|
|
195
|
?c. 1726. For a Wedding.
|
Dem Gerechten muss das Licht (Psalm xcvii. 11).
|
?Bach. Spitta (ii. 469) supposes that the music is adapted.
|
Psalm xcvii. 11, 12; Stanza i. of Paul Gerhardt's hymn, “Nun danket all' und bringet Ehr'”; rest of libretto original.
|
|
†157
|
1727. Feast of the Purification. Also for a Funeral.
|
Ich lasse dich nicht, du segnest mich denn (Gen. xxxii. 26).
|
Picander (“Satyrische Gedichte,” vol. i. p. 210).
|
Genesis xxxii. 26; Stanza vi. of Christian Keimann's hymn, “Meinen Jesum lass' ich nicht”; rest by Picander. T. B. Soli
|
|
37
|
c. 1727. (Schweitzer ii. 260, dates it 1728-34). Ascension Day. [See Nos. 147 (1716) and 172 (1724).]
|
Wer da glaubet und getauft wird (St. Mark xvi. 16).
|
?Christian Weiss, senr.
|
St. Mark xvi. 16; Stanza v. of Philipp Nicolai's hymn, “Wie schön leuchtet der Morgenstern”; Stanza iv. of Johann Kolross' hymn, “Ich dank' dir, lieber Herre”; rest of libretto original.
|
|
198
|
1727. October 17.
|
Trauer-Musik: for Queen Christiane Eberhardine of Poland [477]
|
Prof. J. C. Gottsched. (d. Sept. 7, 1727).
|
Original throughout.
|
|
93
|
?1728. Fifth S. after Trinity.
|
Wer nur den lieben Gott lässt walten.
|
Georg Neumark (arranged by ?Picander).
|
Choral Cantata; Stanzas i., iv., v., vii. of Neumark's hymn are retained in their original form; Stanzas ii., iii., vi. are inserted or paraphrased in the Arias and Recitativi.
|
|
†Incomplete
|
?1728. Christmas Day.
|
Ehre sei Gott in der Höhe (St. Luke ii. 14).
|
Picander (“Cantaten,” 1728-29, p. 71).
|
St. Luke ii. 14; Stanza iv. of Caspar Ziegler's hymn, “Ich freue mich in dir”; rest original. A. B. Soli.
|
|
†159
|
?1729. Quinquagesima (“Estomihi”).
|
Sehet, wir geh'n hinauf nach Jerusalem (St. Luke xviii. 31).
|
Picander (Ibid., p. 106).
|
St. Luke xviii. 31; Stanza vi. of Paul Gerhardt's hymn, “O Haupt voll Blut und Wunden”; Stanza xxxiii. of Paul Stockmann's hymn, “Jesu Leiden, Pein und Tod”; rest original.
|
|
145
|
1729 (or 1730). Easter Tuesday (“Am Osterfeste”)
|
So du mit deinem Munde bekennest Jesum (Romans x. 9), or Auf, mein Herz! des Herren Tag, or Ich lebe, mein Herze.
|
Picander (“Cantaten,” 1728-29, p. 125), with the addition (by Bach) of the opening Choral and Bible verse. See Spitta, ii. 442 n.
|
Stanza i. of Caspar Neumann's hymn, “Auf, mein Herz! des Herren Tag”; Romans x. 9; Stanza xiv. of Nikolaus Herman's hymn, “Erschienen ist der herrlich' Tag”; rest of libretto by Picander. S. T. B. Soli.
|
|
171
|
1730 (or 1731) Feast of the Circumcision (New Year's Day).
|
Gott, wie dein Name, so ist auch dein Ruhm (Psalm xlviii. 10).
|
Picander (Ibid. p. 81).
|
Psalm xlviii. 10; Stanza iii. of Johann Heermann's hymn, “Jesu, nun sei gepreiset”; rest of libretto original.
|
|
†156
|
1730 (or 1729). Third S. after the Epiphany. [See No. 173 (1718).]
|
Ich steh' mit einem Fuss im Grabe.
|
Picander (Ibid.Ibid., p. 91).
|
Stanza i. of Joh. Hermann Schein's hymn, “Mach's mit mir, Gott, nach deiner Güt'”; Stanza i. of Caspar Bienemann's hymn, “Herr, wie du will't, so schick's mit mir”; rest of libretto original.
|
|
120
|
1730. Inauguration of the Town Council (Aug. 24). Used also for Augsburg Confession celebration on June 26, 1730. [See Nos. 69 (1724), 190 (1725).]
|
Gott, man lobet dich in der Stille (Psalm lxv. 1).
|
?Christian Weiss, senr.
|
Psalm lxv. i.; clauses xx.-xxiii. of the “Te Deum”; rest of libretto original.
|
|
†l88
|
1730 (or 1731). Twenty-first S. after Trinity. Incorporates older instrumental material.
|
Ich habe meine Zuver-sicht.
|
Picander (“Cantaten,” 1728-29, p. 47). Music probably by Wilhelm Friedemann Bach to a large extent.
|
Stanza i. of Sigismund Weingärtner's (?) hymn, “Auf meinen lieben Gott”; rest of libretto original. Organ obbligato.
|
|
80
|
1730. Reformation Festival (c. Oct. 31). Composed mainly at Weimar (1716).
|
Ein' feste Burg ist unser Gott.
|
Luther and Salomo Franck (“Evangelisches Andachts-Opffer,” p. 60).
|
Choral Cantata. Stanzas i., ii., iii., iv. of Luther's hymn, “Ein' feste Burg ist unser Gott,” are set in their original form; rest of libretto by Franck.
|
|
†89
|
c. 1730. Twenty-second S. after Trinity.
|
Was soll ich aus dir machen, Ephraim? (Hosea xi. 8).
|
?Christian Weiss, senr.
|
Hosea xi. 8; Stanza vii. of Johann Heermann's hymn, “Wo soll ich fliehen hin”; rest of libretto original. S. A. B. Soli.
|
|
†52
|
c. 1730. Twenty-third S. after Trinity. Incorporates older instrumental material.
|
Falsche Welt, dir trau ich nicht.
|
Author unknown.
|
Stanza i. of Adam Reissner's hymn, “In dich hab' ich gehoffet, Herr”; rest of libretto original. Soprano Solo.
|
|
36
|
c. 1730. First S. in Advent.
|
Schwingt freudig euch empor.
|
The opening Chorus and three Arias are adaptations by Bach of a secular Ode, having the same title, written by Picander and performed Nov. 30, 1720. The four Chorals replace Picander's original Recitativi. The music (excepting the Recitativi and final Chorus of the Ode) of the two works is identical.
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Part I.: Stanza i. of Luther's hymn, “Nun komm, der Heiden Heiland”; Stanza vi. of Philipp Nicolai's hymn, “Wie schon leuchtet der Morgenstern”; Part II.: Stanzas vi. and viii. of Luther's hymn; remaining movements adapted by Bach from Picander.
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Incomplete
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c. 1730? For a Wedding.
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O ewiges Feuer, O Ursprung der Liebe.
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Author unknown. See No. 34 infra (c. 1740).
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Psalm cxxviii. 4, 5, 6; Benediction; rest of libretto original.
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*82
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c. 1731. Feast of the Purification.
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Ich habe genug.
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?Bach.
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Original throughout. Spitta (ii. 346) points out that the Aria “Schlummert ein” seems to have been suggested by a text by Johann Jakob Rambach for the same season. Bass Solo.
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†84
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1731 (or 1732). Septuagesima.
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Ich bin vergnügt mit meinem Glücke.
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A revision (?by Bach) of a text by Picander (“Cantaten,” 1728-29, p. 101).
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Stanza xii. of Emilie Juliane of Schwarzburg-Rudolstadt's hymn, “Wer weiss, wie nahe mir mein Ende”; rest original. Soprano Solo.
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66
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1731 (not 1735). Easter Monday. [See No. 134 (1717-22).]
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Erfreut euch, ihr Herzen.
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?Bach.
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Stanza iii. of the hymn, “Christ ist erstanden”; rest of libretto original. A. T. B. Soli.
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†42
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1731 (not c. 1740). First S. after Easter. (“Quasi-modogeniti”).
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Am Abend aber desselbigen Sabbaths (St. John xx. 19).
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?Christian Weiss, senr. Wustmann (note 37) suggests Bach.
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St. John xx. 19; Stanza i. of Joh. Michael Altenburg's hymn, “Verzage nicht, du Hauflein klein”; Stanza i. of Luther's Antiphon, “Verleih' uns Frieden” and addendum; rest original.
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112
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1731. Second S. after Easter (“Misericordias Domini”).
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Der Herr ist mein getreuer Hirt (Psalm xxiii.).
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Wolfgang Meusel.
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Choral Cantata. The five stanzas of the hymn are set in their original form.
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†174
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1731 (or 1732). Whit Monday. Incorporates older instrumental material. [See No. 194 (1723).]
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Ich liebe den Hochsten von ganzem Gemüthe.
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Picander (“Cantaten,” 1728-29, p. 147).
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Stanza i. of Martin Schalling's hymn, “Herzlich lieb hab' ich dich, O Herr”; rest of libretto original. A. T. B. Soli.
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9
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?1731 Sixth S. after Trinity
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Es ist das Heil uns kommen her.
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Paul Speratus (arranged).
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Choral Cantata. Stanzas i. and xii. are set in their original form. The intermediate stanzas are paraphrased in the Arias and Recitativi.
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102
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?1731. Tenth S. after Trinity.
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Herr, deine Augen sehen nach dem Glauben (Jeremiah v. 3).
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?Christian Weiss, senr. Spitta (ii. 464) suggests Picander.
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Part I.: Jeremiah v. 3; Romans ii. 4, 5; Part II.: Stanzas vi. and vii. of Johann Heermann's hymn, “So wahrichlebe, spricht dein Gott”; rest original. A. T. B. Soli.
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*35
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?1731. Twelfth S. after Trinity.
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Geist und Seele wird verwirret.
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The probability that the Cantata is a converted chamber music composition supports the inference that Bach wrote the text. See Spitta, ii. 447.
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Original throughout (2 parts). Alto Solo and Organ obbligato.
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25
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c. 1731. Fourteenth S. after Trinity.
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Es ist nichts gesundes an meinem Leibe (Psalm xxxviii. 3).
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?Christian Weiss, senr.
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Psalm xxxviii. 3; Stanza xii. of Johann Heermann's hymn, “Treuer Gott, ich muss dir klagen”; rest of libretto original. S. T. B. Soli.
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29
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1731. Inauguration of the Town Council (Aug. 27). Incorporates older instrumental material.
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Wir danken dir, Gott (Psalm lxxv. i).
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?Christian Weiss, Sr.
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Pslam lxxv. 1; Stanza v. (posthumous) of Johann Graumann's hymn “Nun lob' mein Seel' den Herren”, rest of libretto original. Organ obbligato.
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*51
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1731 (or 1732). Fifteenth S. after Trinity.
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Jauchzet Gott in allen Landen.
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?Bach. A version for Michaelmas (?1737) also exists. See Spitta, ii. 473n.
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Stanza v. of Johann Graumann's hymn, “Nun lob', mein' Seel', den Herren”; rest of libretto original. Soprano Solo.
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†27
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1731. Sixteenths, after Trinity.
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Wer weiss, wie nahe mir mein Ende.
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?Bach. The first Aria is suggested by a Neumeister stanza (“Kirchen-Andachten,” p. 294). See Spitta, ii. 451.
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Stanza i. of Emilie Juliane of Schwarzburg-Rudolstadt's hymn, “Wer weiss, wie nahe mir mein Ende”; Stanza i. of Joh. Georg Albinus' hymn, “Welt ade! ich bin dein müde”; rest of libretto original. Organ obbligato. Choral extended.
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†169
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1731 (or 1732). Eighteenth S. after Trinity.
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Gott soll allein mein Herzehaben.
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Author unknown.
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Stanza iii. of Luther's hymn, “Nun bitten wir den heiligen Geist”; rest of libretto original. Alto Solo and Organ obbligato.
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149
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1731. Feast of St. Michael the Arch-angel.
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Man singet mit Freuden vom Sieg (Psalm cxviii. 15).
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Christian Weiss, senr. First Chorus borrowed from “Was mir behagt.”
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Psalm cxviii. 15, 16; Stanza iii. of Martin Schalling's hymn, “Herzlich lieb hab' ich dich, O Herr”; rest of libretto original.
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†56
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1731 (or 1732). Nineteenth S. after Trinity.
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Ich will den Kreuzstab gerne tragen.
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?Bach, working on a Neumeister text (“Kirchen-Andachten,” p. 514).
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Stanza vi. of Johann Franck's hymn, “Du, O schones Weltgebäude”; rest of libretto original. Bass Solo.
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*49
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c. 1731. Twentieth S. after Trinity. Incorporates older instrumental material.
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Ich geh' und suche mit Verlangen.
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Author unknown.
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Stanza vii. of Philipp Nicolai's hymn, “Wie schön leuchtet der Morgenstern”; rest of libretto original. S. B. Soli and Organ obbligato.
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109
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c. 1731. Twenty-first S. after Trinity.
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Ich glaube, lieber Herre, hilf meinem Unglauben (St. Mark ix. 24).
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?Christian Weiss, senr.
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St. Mark ix. 24; Stanza vii. of Lazarus Spengler's hymn, “Durch Adams Fall ist ganz verderbt”; rest original. A. T. Soli.
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†55
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1731 (or 1732). Twenty-second S. after Trinity.
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Ich armor Mensch, ich Sündenknecht.
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Author unknown.
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Stanza vi. of Johann Rist's hymn, “Werde munter, mein Gemuthe”; rest of libretto original. Tenor Solo.
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140
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1731 (or later). Twenty-seventh S. after Trinity.
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Wachet auf, ruft uns die Stimme.
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Philipp Nicolai (arranged by ?Picander).
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Choral Cantata. All three stanzas of the hymn are set in their original form. The rest of the libretto is original. S. T. B. Soli.
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129
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1732. Trinity Sunday.
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Gelobet sei der Herr.
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Johannes Olearius.
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Choral Cantata. The five stanzas of the hymn are set in their original form. S. A. B. Soli.
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39
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1732 (not c. 1740). First S. after Trinity.
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Brich dem Hungrigen dein Brod (Isaiah lviii. 7).
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?Christian Weiss, senr. Schweitzer (ii. 343) attributes the text to Picander.
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Part I.: Isaiah lviii. 7, 8; Part II.: Hebrews xiii. 16; Stanza vi. of David Denicke's hymn, “Kommt, lasst euch den Herren lehren”; rest of libretto original. S. A. B. Soli.
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177
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1732. Fourth S. after Trinity.
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Ich ruf' zu dir, Herr Jesu Christ.
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Johannes Agricola.
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Choral Cantata. The five stanzas of the hymn are set in their original form. S. A. T. Soli.
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†88
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1732. Fifth S. after Trinity.
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Siehe, ich will viel Fischer aussenden (Jer. xvi. 16).
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?Christian Weiss, senr.
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Part I.: Jeremiah xvi. 16; Part II.: St. Luke v. 10; Stanza vii. of Georg Neumark's hymn, “Wer nur den lieben Gott lasst walten”; rest of libretto original.
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*170
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?1732. Sixth S. after Trinity.
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Vergnügte Ruh, beliebte Seelenlust.
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Author unknown.
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Original throughout. See Spitta, ii. 453n. Alto Solo and Organ obbligato.
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187
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1732. Seventh S. after Trinity.
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Es wartet Alles auf dich (Psalm civ. 27).
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?Christian Weiss, senr. Schweitzer (ii. 343) attributes the text to Picander.
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Part I.: Psalm civ. 27, 28; Part II.: St. Matthew vi. 31, 32; Stanzas iv. and vi. of the anonymous hymn, “Singen wir aus Herzensgrund”; rest original. S. A. B. Soli.
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137
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?1732. Twelfth S. after Trinity.
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Lobe den Herren, den mächtigen König der Ehren.
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Joachim Neander.
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Choral Cantata. The five stanzas of the hymn are set in their original form. S. A. T. Soli.
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95
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?1732. Sixteenth S. after Trinity.
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Christus, der ist mein Leben.
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Author unknown.
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Stanza i. of the anonymous hymn, “Christus, der ist mein Leben”; Stanza i. of Luther's hymn, “Mit Fried' und Freud' ich fahr' dahin”; Stanza i. of Valerius Herberger's hymn, “Valet will ich dir geben”; Stanza iv. of Nikolaus Herman's hymn, “Wenn mein Stündlein vorhanden ist”; rest original. S. T. B. Soli.
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98
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c. 1732. Twenty-first S. after Trinity.
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Was Gott thut, das ist wohlgethan.
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Author unknown.
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Stanza i. of Samuel Rodigast's hymn, “Was Gott thut, das ist wohlgethan”; rest of libretto original.
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†60
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1732. Twenty-fourth S. after Trinity.
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O Ewigkeit, du Donnerwort.
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Author unknown.
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Stanza i. of Johann Rist's hymn, “O Ewigkeit du Donnerwort”; Psalm cxix. 166; Revelation xiv. 13; Stanza v. of Franz Joachim Burmeister's hymn, “Es ist genug”; rest of libretto original. A. T. B. Soli.
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102
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c. 1733. Occasion not specified.
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Nun danket alle Gott.
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Martin Rinkart.
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Choral Cantata. The three stanzas of the hymn are set in their original form. S. A. B. Soli.
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*58
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1733. Sunday after the Circumcision.
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Ach Gott, wie manches Herzeleid.
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?Bach.
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Stanza i. of Martin Moller's(?) hymn, “Ach Gott, wie manches Herzeleid”; Stanza ii. of Martin Behm's hymn, “O Jesu Christ, mein's Lebens Licht”; rest original. S. B. Soli.
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99
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c. 1733. Fifteenth S. after Trinity.
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Was Gott thut, das ist wohlgethan.
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Samuel Rodigast (arranged).
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Choral Cantata. Stanzas i. and vi. of the hymn are set in their original form. The intervening stanzas are paraphrased in the Arias and Recitativi.
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191
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c. 1733. Christmas Day (“Am Weinachtsfeste”).
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Gloria in excelsis Deo.
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St. Luke ii. 14.
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The “Gloria” of the B minor Mass.
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117
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c. 1733. Occasion not specified.
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Sei Lob und Ehr' dem hochsten Gut.
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Johann Jakob Schütz.
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Choral Cantata. The nine stanzas of the hymn are set in their original form. A. T. B. Soli.
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97
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1734. ?For a Wedding, or general use.
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In allen meinen Thaten.
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Paul Flemming. See Schweitzer, ii. 242n.
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Choral Cantata. The nine stanzas of the hymn are set in their original form.
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*54
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1723-34. Occasion not specified.
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Wideratehe doch der Sunde.
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Author unknown.
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Original throughout. Alto Solo.
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*53
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1723-34. ?For a Funeral.
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Schlage doch, gewünschte Stunde.
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?Salomo Franck.
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A single eight-lined original stanza. Alto Solo.
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No.
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Date.
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Title.
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Author of Libretto.
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Composition of the Text.
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43
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1735. New Year's Day.
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Lobe den Herrn, meine Seele (Psalm cxlvi. 1).
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?Christian Weiss, senr. Wustmann (note 19) suggests Bach.
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Psalm cxlvi. 1, 5, 10; Stanzas i. and iii. of Jakob Ebert's hymn, “Du Friedefurst, Herr Jesu Christ”; the rest of the libretto (two Arias) original. S. T. B. Soli.
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14
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1735. Fourth S. after the Epiphany.
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War' Gott nicht mit uns diese Zeit (Psalm cxxiv.).
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Luther (arranged).
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Choral Cantata. Stanzas i. and iii. are set in their original form. Stanza ii. is paraphrased in the intervening Arias and Recitativo. S. T. B. Soli.
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†85
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1735. Second S. after Easter. (“Misericordias Domini”).
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Ich bin ein guter Hirt (St. John x. 11).
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Spitta (iii. 71) and Schweitzer (ii. 331n) attribute the text to Marianne von Ziegler. Wustmann (note 60) disagrees.
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St. John x. 11; Stanza i. of Cornelius Becker's hymn, “Derr Herr ist mein getreuer Hirt”; Stanza iv. of Ernst Christoph Homburg's hymn, “Ist Gott mein Schild und Helfersmann”; rest of libretto original.
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103
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?1735. Third S. after Easter (“Jubilate”).
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Ihr werdet weinen und heulen (St. John xvi. 20).
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Marianne von Ziegler (“Versuch in gebundener Schreibart,” Leipzig,1728). Emended by Bach.
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St. John xvi. 20; Stanza ix. of Paul Gerhardt's hymn, “Barmherzger Vater, hochster Gott”; rest of libretto original. A. T. Soli.
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108
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?1735. Fourth S. after Easter. (“Cantate”).
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Es ist euch gut, dass ich hingehe (St. John xvi. 7).
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Marianne von Ziegler (Ibid.). Emended by Bach.
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St. John xvi. 7, 13; Stanza x. of Paul Gerhardt's hymn, “Gott Vater, sende deinen Geist”; rest of libretto original. A. T. B. Soli.
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†87
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?1735. Fifth S. after Easter (“Rogate”)
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Bisher habt ihr nichts gebeten in meinem Namen (St. John xvi. 24).
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Marianne von Ziegler (Ibid.). Emended by Bach.
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St. John xvi. 24,33; Stanza ix. of Heinrich Müller's hymn “Selig ist die Seele”; rest of libretto original. A. T. B. Soli.
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43
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1735. Ascension Day.
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Gott fähret auf mit Jauchzen (Psalm xlvii. 5).
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?Bach. Schweitzer (ii. 331n) wrongly attributes text to Marianne von Ziegler.
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Part I.: Pslm xlvii. 5,6; St. Mark xvi. 19; Part II.: Stanzas i. and xiii. of Johann Rist's hymn, “Du Lebenfüst, Herr Jesu Christ”, rest of libretto original, excepting the second, third, and fourth Arias. Original portion perhaps by Bach.
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11
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c. 1735. Ascension Day.
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Lobet Gott in seinen Reichen.
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Author unknown.
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St. Luke xxiv. 50-52; Acts i. 9-11; Stanza iv. of Johann Rist's hymn, “Du Lebenfüst, Herr Jesu Christ”; Stanza vii. of Gottfried Wilhelm Sacer's hymn “Gott fähret auf gen Himmel”; rest of libretto original.
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128
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?1735. Ascension Day.
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Auf Christi Himmelfahrt allein.
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Marianne von Ziegler (Ibid.). Emended by Bach.
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Stanza i. of Josua Wegelin's hymn, “Auf Christi Himmelfahrt allein”; Stanza iv. of Matthäus Avenarius's hymn, “O Jesu, meine Lust”; rest of libretto original. A. T. B. Soli.
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†183
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?1735. Sunday after the Ascension (“Exaudi”)
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Sie werden euch in den Bann thun (St. John xvi. 2)
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Marianne von Ziegler (Ibid.). Emended by Bach.
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S. John xvi. 2; Stanza v. of Paul Gerhardt's hymn “Zeuch ein zu deinen Thoren”; rest of libretto original.
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74
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?1735. Whit Sunday. An expansion of No. 59 (1716).
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Wer mich liebst, der wird mein Wort halten (St. John xiv. 23).
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Marianne von Ziegler (Ibid.). Emended by Bach.
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St. John 23, 28; Romans viii. 1; Stanza ii. of Paul Gerhardt's hymn, “Gott Vater, sende deinen Geist” rest of libretto original.
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68
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?1735. Whit Monday. Contains old (1716) secular material.
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Also hat Gott die Welt geliebt.
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Marianne von Ziegler (Ibid.). Emended by Bach. See “Was mir behagt.”
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Stanza i. of Salomo Liscow's hymn, “Also hat Gott die Welt geliebt”; St. John iii. 18; rest of libretto original. S. B. Soli.
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†175
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?1735. Whit Tuesday.
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Er rufet seinen Schafen mit Namen (St. John x. 3).
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Marianne von Ziegler (Ibid.). Emended slightly by Bach.
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St. John x. 3, 6; Stanza ix. of Johann Rist's hymn, “O Gottes Geist, mein Trost und Rath ”; rest of libretto original. A. T. B. Soli.
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176
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?1735. Trinity Sunday. [See No. 20 (1725).]
|
Es ist ein trotzig und verzagt Ding. (Cf. Jer. xvii. 9).
|
Marianne von Ziegler (Ibid.). Emended by Bach.
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Stanza viii. of Paul Gerhardt's hymn, “Was alle Weisheit in der Welt”; rest original. S. A. B. Soli.
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107
|
c. 1735. Seventh S. after Trinity.
|
Was willst du dich betrüben.
|
Johann Heermann.
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Choral Cantata. Six stanzas of the hymn are set in their original form. The final Choral is stanza xiv. of David Denicke's hymn, “Ich will zu aller Stunde.” S. T. B. Soli.
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94
|
?1735. Ninth S. after Trinity.
|
Was frag ich nach der Welt.
|
Georg Michael Pfefferkorn (arranged).
|
Choral Cantata. Stanzas i., iii., v., vii., viii. are set in their original form. Stanzas ii., iv., vi. are paraphrased in the Arias.
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133
|
1735 (or 1737). Feast of St. John the Evangelist.
|
Ich freue mich in dir.
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Caspar Ziegler (arranged by ?Christian Weiss, junr.).
|
Choral Cantata. Stanzas i. and iv. of the hymn are set in their original form. The intervening stanzas are paraphrased in the Arias and Recitativi.
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|
100
|
c. 1735. ?Fifteenth S. after Trinity, for a Wedding.
|
Was Gott thut, das ist wohlgethan.
|
Samuel Rodigast.
|
Choral Cantata. The six stanzas of the hymn are set in their original form.
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5
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1735. Nineteenth S. after Trinity.
|
Wo soll ich fliehen hin.
|
Johann Heermann (arranged by ?Picander).
|
Choral Cantata. Stanzas i. and xi. of the hymn are set in their original form. The intervening Arias and Recitativi are based particularly on stanzas iii., iv., vii., viii., ix.
|
|
79
|
1735. Reformation Festival (Oct. 30).
|
Gott, der Herr, ist Sonn und Schild (Psalm Ixxxiv. 11).
|
?Christian Weiss, senr.
|
Psalm lxxxiv. 11; Stanza i. of Martin Rinkart's hymn, “Nun danket alle Gott”; Stanza viii. of Ludwig Helmbold's hymn, “Nun lasst uns Gott dem Herren”; rest of libretto original. S. A. B. Soli.
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|
41
|
?1736. New Year's Day.
|
Jesu, nun sei gepreiset.
|
Johann Heermann (arranged).
|
Choral Cantata. Stanzas i. and iii. of the hymn are set in their original form. Stanza ii. is paraphrased in the intervening Arias and Recitativi.
|
|
†13
|
c. 1736. Second S. after the Epiphany.
|
Meine Seufzer, meine Thränen.
|
Author unknown.
|
Stanza ii. of Johann Heermann's hymn, “Zion klagt mit Angst und Schmerzen”; Stanza xv. of Paul Flemming's hymn, “In allen meinen Thaten”; rest original.
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|
|
[1736. Easter Day]
|
Kommt, eilet und laufet.
|
?Picander.]
|
|
|
6
|
1736. Easter Monday.
|
Bleib' bei uns, denn es will Abend werdeu (St. Luke xxiv. 29).
|
Author unknown. Wustmann (note 53) suggests Picander.
|
St. Luke xxiv. 29; Stanzas i. and ii. of Nikolaus Selnecker's hymn, “Ach bleib' bei uns, Herr Jesu Christ”; Stanza ii. of Luther's hymn, “Erhalt' uns, Herr, bei deinem Wort”; rest original.
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|
28
|
c. 1736. Sunday after Christmas. Spitta, ii. 433, dates it 1725-27.
|
Gottlob! nun geht das Jahr zu Ende.
|
Erdmann Neumeister (“Fünffache Kirchen-Andachten,” 1716. Ser. IV.
|
Stanza i. of Johann Graumann's hymn, “Nun lob', mein Seel', den Herren”; Jeremiah xxxii. 41; Stanza vi. of Paul Eber's hymn, “Helft mir Gott's Gütte preisen”; rest of libretto original.
|
|
17
|
c. 1737. Fourteenth S. after Trinity.
|
Wer Dank opfert, der preiset mich (Psalm 1., 23).
|
?Bach. Schweitzer (ii. 343) attributes the text to Picander.
|
Part I.: Psalm 1. 23; Part II.: St. Luke xvii. 15, 16; Stanza iii. of Johann Graumann's hymn, “Nun lob', mein' Seel', den Herren”; rest original.
|
|
118
|
c. 1737. ?For a Funeral.
|
O Jesu Christ, mein's Lebens Licht.
|
Martin Behm.
|
Stanza i. of Martin Behm's hymn, “O Jesu Christ, mein's Lebens Licht.” A Motet; cf. No. 50 (c. 1740.
|
|
197
|
?1737. For a Wedding. Contains older material (?1728).
|
Gott ist uns're Zuversicht.
|
?Bach. Pt. II.'s Arias are based on the Christmas Cantata “Ehre sei Gott” (?1728).
|
Stanza iii. of Luther's hymn, “Nun bitten wir den heiligen Geist”; Stanza vii. (partly rewritten) of Georg Neumark's hymn, “Wer nur den lieben Gott lässt walten”; rest original. S. A. B. Soli.
|
|
30
|
1738. Feast of St. John Baptist (Midsummer Day).
|
Freue dich, erloste Schaar.
|
Reconstruction, by ?Picander, of his “Angenehmes Wiederau,” 1737, from which the music also is in part borrowed.
|
Part I.: Stanza iii. of Johannes Olearius' hymn, “Tröstet, tröstet, meine Lieben”; rest of libretto original.
|
|
123
|
1740. Feast of the Epiphany.
|
Liebster Immanuel, Herzog der Frommen.
|
Ahasuerus Fritsch (arranged by ?Christian Weiss, junr.).
|
Choral Cantata. Stanzas i. and v. of the hymn are set in their original form. Stanzas ii., iii., iv. are paraphrased in the intervening Arias and Recitativi. A. T. B. Soli.
|
|
†32
|
c. 1740. First S. after the Epiphany.
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Leibster Jesu, mein Verlangen.
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?Picander.
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St. Luke ii. 49; Stanza xii. of Paul Gerhardt's hymn, “Weg, mein Herz, mit den Gedanken”; rest of libretto original. S. B. Soli.
|
|
124
|
c. 1740. First S. after the Epiph-any.
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Meinen Jesum lass' ich nicht.
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Christian Keimann (arranged by ?Picander).
|
Choral Cantata. Stanzas i. and vi. of the hymn are set in their original form. Stanzas ii.-v. are paraphrased in the intervening Arias and Recitativi.
|
|
3
|
c. 1740. Second S. after the Epiphany.
|
Ach Gott, wie manches Herzeleid.
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Martin Moller (arranged by ?Christian Weiss, junr.).
|
Choral Cantata. Stanzas i., ii., xii. of the hymn are set in their original form. Stanzas iv.-vi., ix., x. are paraphrased in the Arias and Recitativo.
|
|
111
|
c. 1740. Third S. after the Epiphany.
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Was mein Gott will, das g'scheh' allzeit.
|
Albrecht, Margrave of Brandenburg-Culmbach (arranged).
|
Choral Cantata. Stanzas i. and iv. of the hymn are set in their original form. Stanzas ii. and iii. are paraphrased in the Arias and Recitativi.
|
|
92
|
c. 1740. Septuagesima.
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Ich hab' in Gottes Herz und Sinn.
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Paul Gerhardt (arranged by ?Picander).
|
Choral Cantata. Stanzas i., ii., v., x., xii. of the hymn are set in their original form. Stanzas iii., iv., vi.-viii., ix. are paraphrased in the Arias and Recitativo.
|
|
125
|
c. 1740. Feast of the Purification.
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Mit Fried' und Freud' ich fahr' dahin.
|
Luther (arranged).
|
Choral Cantata. Stanzas i., ii. , iv. are set in their original form. Stanza iii. is paraphrased in the second Aria and Recitative. A. T. B. Soli.
|
|
126
|
c. 1740. Sexagesima.
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Erhalt' uns, Heir, bei deinem Wort.
|
Luther (arranged).
|
Choral Cantata. Stanzas i., iii., and Luther's “Verleih' uns Frieden gnädiglich” are set in their original form. The other stanzas are paraphrased in the Arias and second Recit. A. T. B. Soli.
|
|
127
|
c. 1740. Quinquagesima (“Esto-mihi”).
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Herr Jesu Christ, wahr'r Mensch und Gott.
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Paul Eber (arranged by ?Picander).
|
Choral Cantata. Stanzas i. and viii. of the hymn are set in their original form. The intervening stanzas are paraphrased in the Recitativi and Arias. S. T. B. Soli.
|
|
1
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c. 1740. Feast of the Annunciation.
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Wie schön leuchtet der Morgenstern.
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Philipp Nicolai (arranged by ?Picander).
|
Choral Cantata. Stanzas i. and vii. of the hymn are set in their original form. Stanzas ii.-vi. are paraphrased in the intervening Recitativi and Arias. S. T. B. Soli.
|
|
146
|
c. 1740. Third S. after Easter (“Jubilate”).
Incorporates older instrumental material.
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Wir müssen durch viel Trübsal in das Reich Gottes eingehen (Acts xiv. 22).
|
Author unknown. Schweitzer (ii. 343) names Picander.
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Acts xiv. 22; excepting the concluding Choral (words wanting in the score) the rest of the libretto is original.
|
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34
|
c. 1740 (or 1741). Whit Sunday (“Am Pfingst-feste”. Incorporates (modified) parts of the Wedding Cantata (c. 1730) bearing the same title
|
O ewiges Feuer, O Ursprung der Liebe.
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?by Bach.
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Original throughout. Movements 1, 3, 5, follow the Wedding Cantata, words and music. A. T. B. Soli.
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2
|
c. 1740. Second S. after Trinity.
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Ach Gott, vom Himmel sieh darein.
|
Luther (arranged by ?Picander).
|
Choral Cantata. Stanzas i. and vi. of the hymn are set in their original form. The intervening stanzas are paraphrased in the Arias and Recitativi. A. T. B. Soli.
|
|
135
|
c. 1740. Third S. after Trinity.
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Ach Herr, mich armen Sunder.
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Cyriacus Schneegass. Also attributed to Christoph Demantius (arranged by ?Christian Weiss, junr.).
|
Choral Cantata. Stanzas i. and vi. of the hymn (see Psalm vi.) are set in their original form. The intervening stanzas are paraphrased in the Arias and Recitativi. A. T. B. Soli.
|
|
7
|
c.1740. Feast of St. John Baptist (Midsummer Day).
|
Christ unser Herr zum Jordan kam.
|
Luther (arranged).
|
Choral Cantata. Stanzas i. and vii. of the hymn are set in their original form. The intervening stanzas are paraphrased in the Arias and Recitativi. A. T. B. Soli.
|
|
10
|
c. 1740. Feast of the Visitation.
|
Meine Seel' erhebt den Herren. (St. Luke, i. 46).
|
St. Luke, i. 46-55 (arranged).
|
Choral Cantata. Verses 46-48, 54, and the Doxology, are set in their original form. The other verses are paraphrased in the Arias and Recitativi.
|
|
45
|
c. 1740. Eighth S. after Trinity.
|
Est ist dir gesagt, Mensch, was gut ist (Micah vi., 8).
|
?Christian Weiss, senr. Schweitzer (ii. 343) attributes the text to Picander.
|
Part I.: Micah vi. 8; Part II.: St. Matthew vii. 22, 23; Stanza ii. of Johann Heermann's hymn, “O Gott, du frommer Gott”; rest original. A. T. B. Soli.
|
|
178
|
c. 1740. Eighth S. after Trinity.
|
Wo Gott der Herr nicht bei uns halt (Psalm cxxiv.).
|
Justus Jonas (arranged).
|
Choral Cantata. Stanzas i., ii., iv., v., vii., viii., of the hymn are set in their original form. The other stanzas are paraphrased. A. T. B. Soli.
|
|
101
|
c. 1740. Tenth S. after Trinity.
|
Nimm von uns, Herr, du treuer Gott.
|
Martin Moller (arranged). Schweitzer (ii. 375) names Picander.
|
Choral Cantata. Stanzas i., iii., v., vii. are set in their original form. Stanzas ii., iv., vi. are paraphrased in the Arias.
|
|
113
|
c. 1740. Eleventh S. after Trinity.
|
Heir Jesu Christ, du höchstes Gut.
|
Bartholomaüws Ringwaldt(arranged).
|
Choral Cantata. Stanzas i., ii., iv., viii. of the
hymn are set in their original form. Stanzas iii., v.-vii. are paraphrased in the Arias and Recitativo.
|
|
193
|
c. 1740. Inauguration of the Town Council (c. August 24). Incomplete.
|
Ihr Pforten [Tore] zu Zion
|
Author unknown.
|
Original throughout. S. A. T. (or B.) Soli.
|
|
33
|
c. 1740. Thirteenth S. after Trinity.
|
Allein zu dir, Herr Jesu Christ.
|
Johannes Schneesing. Attributed also to Conrad Hubert. Arranged.
|
Choral Cantata. Stanzas i. and iv. of the hymn are set in their original form. The intervening stanzas are paraphrased. A. T. B. Soli.
|
|
78
|
c. 1740 (or after 1734) Fourteenth S. after Trinity.
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Jesu, der du meine Seele.
|
Johann Rist (arranged by ?Picander).
|
Choral Cantata. Stanzas i. and xii. of the hymn are set in their original form. Four lines of Stanza x. are inserted into the last Recitativo.
|
|
138
|
c. 1740 (or earlier). Fifteenth S. after Trinity.
|
Warum betrübst du dich, mein Herz.
|
?Hans Sachs and ?Picander.
|
Choral Cantata. Stanzas i., ii., iii. of the hymn are set in their original form. Rest of libretto original. A. T. B. Soli.
|
|
114
|
c. 1740. Seventeenth S. after Trinity.
|
Ach, lieben Christen, seid getrost.
|
Johannes Gigas (arranged).
|
Choral Cantata. Stanzas i., iii., vi. of the hymn are set in their original form. The other stanzas are paraphrased in the remaining movements.
|
|
96
|
c. 1740. Eighteenth S. after Trinity.
|
Herr Christ, der ein'ge Gottes-Sohn.
|
Elisabethe Cruciger (arranged by ?Picander).
|
Choral Cantata. Stanzas i. and v. of the hymn are set in their original form. The intervening stanzas are paraphrased in the Recitativi and Arias.
|
|
130
|
c. 1740. Feast of St. Michael the Archangel.
|
Herr Gott, dich loben alle wir.
|
Paul Eber (arranged).
|
Choral Cantata. Stanzas i., xi., xii. (in score only) of the hymn are set in their original form. The remaining stanzas are paraphrased.
|
|
50
|
c. 1740. Feast of St. Michael the Archangel.
|
Nun ist das Heil und die Kraft.
|
Revelation xii 10.
|
Rev. xii. 10; a single Bible passage. A Motet. Cf. No. 118 (c. 1737).
|
|
48
|
c.1740. Nineteenth S. after Trinity.
|
Ich elender Mensch, wer wird mich erlosen (Rom. vii. 24).
|
?Picander.
|
Romans vii. 24; Stanza iv. of the anonymous hymn, “Ach Gott und Herr”; Stanza xii. of the anonymous hymn, “Herr Jesu Christ, ich schrei zu dir”; rest original. A. T. Soli.
|
|
180
|
c. 1740. Twentieth S. after Trinity.
|
Schmucke dich, O liebe Seele.
|
Johann Franck (arranged).
|
Choral Cantata. Stanzas i., iv., ix. of the hymn are set in their original form. The remaining stanzas are paraphrased.
|
|
38
|
c. 1740. Twenty-first S. after Trinity.
|
Aus tiefer Noth schrei ich zu dir (Psalm cxxx.).
|
Luther (arranged by ?Christian Weiss, junr.).
|
Choral Cantata. Stanzas i. and v. of the hymn are set in their original form. The intervening stanzas are paraphrased.
|
|
115
|
c. 1740. Twenty-second S. after Trinity.
|
Mache dich, mein Geist, bereit.
|
Johann Burchard Freystein (arranged by ?Picander.
|
Choral Cantata. Stanzas i. and x. of the hymn are set in their original form. The intervening ones are paraphrased.
|
|
139
|
c. 1740. Twenty-third S. after Trinity.
|
Wohl dem, der sich auf seinen Gott.
|
Johann Christoph Rube (arranged).
|
Choral Cantata. Stanzas i. and v. are set in their original form. The intervening ones are paraphrased.
|
|
26
|
c. 1740. Twenty-fourth S. after Trinity.
|
Ach wie fluchtig.
|
Michael Franck (arranged by ?Picander).
|
Choral Cantata. Stanzas i. and xiii. of the hymn are set in their original form. Stanzas ii.-xii. are paraphrased.
|
|
†90
|
c. 1740. Twenty-fifth S. after Trinity.
|
Es reifet euch ein sohrecklich Ende.
|
?Picander.
|
Stanza vii. of Martin Holler's hymn, “Nimm von uns, Herr, du treuer Gott”; rest of libretto original. A. T. B. Soli.
|
|
62
|
c. 1740 (after 1734). First S. in Advent.
|
Nun komm, der Heiden Heiland.
|
Luther (arranged by ?Picander).
|
Choral Cantata. Stanzas i. and viii. are set in their original form. The intervening stanzas are paraphrased.
|
|
91
|
c. 1740. Christmas Day.
|
Gelobet seist du, Jesu Christ.
|
Luther (arranged by ?Picander).
|
Choral Cantata. Stanzas i., ii., vii. of the hymn are set in their original form. The remaining stanzas are paraphrased.
|
|
110
|
Unser Mund sei voll Lachens (Psalm cxxvi. 2).
|
After 1734. Christmas Day. Has older instrumental material.
|
?Christian Weiss, senr. Schweitzer (ii. 343) suggests Picander.
|
Psalm cxxvi. 2, 3; Jeremiah x. 6; St. Luke ii. 14; Stanza v. of Caspar Fuger's hymn, “Wir Christenleut'”; rest of libretto original.
|
|
†57
|
c. 1740. Feast of St. Stephen.
|
Selig ist der Mann (St. James i. 12).
|
?Picander.
|
St. James i. 12; Stanza vi. of Ahasuerus Fritsch's hymn, “Hast du, denn, Jesu, dein Angesicht gantzlich verborgen”; rest of libretto original. S. B. Soli.
|
|
121
|
c. 1740. Feast of St. Stephen.
|
Christum wir sollen loben schon.
|
Luther (arranged by ?Picander).
|
Choral Cantata. Stanzas i. and viii. of the hymn are set in their original form. Stanzas ii.-vi. are paraphrased. A. T. B. Soli.
|
|
†l51
|
c. 1740. Feast of St. John the Evangelist.
|
Süsser Trost, main Jesus kommt.
|
?Bach.
|
Stanza viii. of Nikolaus Herman's hymn, “Lobt Gott, ihr Christen alle gleich”; rest of libretto original.
|
|
Incomplete
|
c. 1740 (after 1734). For a Wedding.
|
Herr Gott, Beherrseher aller Dinge.
|
?Bach.
|
Stanzas iv. and v. of Joachim Neander's hymn, “Lobe den Herren”; rest original. S. B. Soli.
|
|
122
|
c. 1742. Sunday after Christmas Day.
|
Das neugebor'ne Kindelein.
|
Cyriacus Schneegass and ?Bach.
|
Choral Cantata. Stanzas i., iii., iv. of the hymn are set in their original form. Stanza ii. is paraphrased in the first Aria. The two Recitativi are original.
|
|
116
|
1744 (Nov. 15). Twenty-fifth S. after Trinity.
|
Du Friedefürst, Herr Jesu Christ.
|
Jakob Ebert. Also attributed to Ludwig Helmbold (arranged).
|
Choral Cantata. Stanzas i. and vii. of the hymn are set in their original form. The intervening stanzas are paraphrased.
|