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Chorale cantata cycle

January 01, 1970

Johann Sebastian Bach's chorale cantata cycle is the year-cycle of church cantatas he started composing in Leipzig from the first Sunday after Trinity in 1724. It followed the cantata cycle he had composed from his appointment as Thomaskantor after Trinity in 1723.

Bach's second cantata cycle is commonly used as a synonym for his chorale cantata cycle, but strictly speaking both cycles overlap only for 40 cantatas. Two further chorale cantatas may belong to both cycles: the final version of Christ lag in Todes Banden, BWV 4, and the earliest version of Ein feste Burg ist unser Gott, BWV 80; it is, however, uncertain whether these versions were first presented in Bach's second year in Leipzig. Bach composed a further 13 cantatas in his second year at Leipzig, none of them chorale cantatas, although two of them became associated with the chorale cantata cycle. After his second year in Leipzig, he composed at least eight further cantatas for inclusion in his chorale cantata cycle.

Around the start of the Bach Revival in the 19th century, almost no manuscripts of Bach's music remained in St. Thomas in Leipzig, apart from an incomplete chorale cantata cycle. In Leipzig the chorale cantatas were, after the motets, the second most often performed compositions of Bach between the composer's death and the Bach Revival. Philipp Spitta, in his 19th-century biography of the composer, praised the chorale cantatas, but failed to see them as a cycle tied to 1724–25. It took about a century after Spitta before Bach's cantata cycles were analysed in scholarly literature, but then Bach's ambitious project to write a chorale cantata for each occasion of the liturgical year was characterized as "the largest musical project that the composer ever undertook".

Development of the second cantata cycle and the chorale cantata cycle edit

Possibly the idea for writing a series of chorale cantatas was inspired by the bicentennial anniversary of the first publications of Lutheran hymnals (1524).[1] The first of these early hymnals is the Achtliederbuch, containing eight hymns and five melodies. Four chorale cantatas use text and/or melody of a hymn in that early publication (BWV 2, 9, 38 and 117). Another 1524 hymnal is the Erfurt Enchiridion: BWV 62, 91, 96, 114, 121 and 178 are based on hymns from that publication. BWV 14 and 125 were based on hymns from Eyn geystlich Gesangk Buchleyn, also published in 1524.

Apart from some cantatas composed after Palm Sunday 1725, the chorale cantata cycle and the second cantata cycle overlap, and the two designations are often used interchangeably in scholarly literature. Otherwise the cycle is described as breaking off after Palm Sunday or Easter 1725. There are some cantatas that belong to one of both cycles, but not to the other, for instance the chorale cantata for Trinity 1727 replaces the Trinity cantata of the second cycle composed in 1725. Also, some cantatas traditionally seen as belonging to the chorale cantata cycle are not chorale cantatas in a strict sense, for instance the cantata for the Sunday between New Year and Epiphany added to the chorale cantata cycle in 1727. Neither the second cantata cycle, nor the chorale cantata cycle are complete annual cycles as extant. Even a merging of both cycles into one, with some occasions having two cantatas, which hardly can be seen as an intention of the composer, would still be missing a few cantatas (e.g. for Easter 3 and Trinity XXVI).

Chorale cantatas composed as part of the second annual cycle (Trinity I 1724 to Palm Sunday 1725) edit

All extant church cantatas Bach composed for occasions from 11 June 1724 (Trinity I) to 25 March 1725 (Palm Sunday) are chorale cantatas. As such these cantatas have consecutive "K" numbers in the chronological Zwang catalogue for Bach's cantatas published in 1982. In the Zwang catalogue the cantata for Reformation Day Ein feste Burg ist unser Gott, BWV 80, is inserted between the cantatas for Trinity XXI and XII, as a cantata premiered in 1724.[2] More recently, this cantata is, however, no longer considered to have been composed in 1724.[3]

Bach's last newly composed chorale cantata in his second year in Leipzig was Wie schön leuchtet der Morgenstern, BWV 1, for the feast of the Annunciation on 25 March, which fell on Palm Sunday in 1725. Of the chorale cantatas composed up to Palm Sunday 1725 only K 77, 84, 89, 95, 96 and 109 (BWV 135, 113, 130, 80, 115 and 111) were not included in the chorale cantata cycle that was still extant in Leipzig in 1830.[4]

Sundays after Trinity edit

In 1724 the period of the Sundays after Trinity included St. John's Day (24 June), Visitation (2 July, that year coinciding with Trinity IV), St. Michael's Day (29 September) and Reformation Day (31 October). That year the last Sunday after Trinity, that is the last Sunday before Advent, was Trinity XXV:[3]

Advent 1724 to Epiphany 1725 edit

Occasion Second
cantata
cycle 		Chorale
cantata
cycle
1 Advent I BWV 62
2 Christmas BWV 91
3 Christmas 2 BWV 121
4 Christmas 3 BWV 133
5 Christmas I BWV 122
6 New Year BWV 41
7 New Year I — (BWV 58)
8 Epiphany BWV 123
9 Epiphany I BWV 124
10 Epiphany II BWV 3
11 Epiphany III BWV 111
12 Epiphany IV — BWV 14
13 Epiphany V —
14 Epiphany VI —
15 Septuagesima BWV 92
16 Purification BWV 125
17 Sexagesima BWV 126
18 Estomihi BWV 127
19 Annunciation
Palm Sunday 		BWV 1
20 Easter (BWV 4)
(BWV 249) 		BWV 4
21 Easter 2 BWV 6 —
22 Easter 3 (BWV 158?) —
23 Easter I BWV 42 —
24 Easter II BWV 85 BWV 112
25 Easter III BWV 103 —
26 Easter IV BWV 108 —
27 Easter V BWV 87 —
28 Ascension BWV 128 (BWV 128)
29 Ascension I BWV 183 —
30 Pentecost BWV 74 —
31 Pentecost 2 BWV 68 (BWV 68)
32 Pentecost 3 BWV 175 —
33 Trinity BWV 176 BWV 129
34 Trinity I BWV 20
35 Trinity II BWV 2
36 St. John's D. BWV 7
37 Trinity III BWV 135
38 Trinity IV — BWV 177
39 Visitation BWV 10
40 Trinity V BWV 93
41 Trinity VI — BWV 9
42 Trinity VII BWV 107
43 Trinity VIII BWV 178
44 Trinity IX BWV 94
45 Trinity X BWV 101
46 Trinity XI BWV 113
47 Trinity XII — BWV 137
48 Trinity XIII BWV 33
49 Trinity XIV BWV 78
50 Trinity XV BWV 99
51 Trinity XVI BWV 8
52 St. Michael's D. BWV 130
53 Trinity XVII BWV 114
54 Trinity XVIII BWV 96
55 Trinity XIX BWV 5
56 Trinity XX BWV 180
57 Trinity XXI BWV 38
58 Reformation D. (BWV 80b) BWV 80
59 Trinity XXII BWV 115
60 Trinity XXIII BWV 139
61 Trinity XXIV BWV 26
62 Trinity XXV BWV 116
63 Trinity XXVI —
64 Trinity XXVII — BWV 140

A new liturgical year starts with the first Sunday of Advent: when a cantata cycle is listed without taking the chronology of composition into account, this is where the list starts.[4] The period from Advent 1724 to Epiphany 1725 included Christmas (25 December), New Year (1 January) and Epiphany (6 January):[3]

In Leipzig concerted music was not allowed for the second to fourth Sunday of Advent (silent time), so the next cantatas in the cycle are those for Christmas:[3]

In 1725 the next occasion was Epiphany, while there was no Sunday between New Year and Epiphany:[3]

Sundays after Epiphany edit

There were six Sundays between Epiphany and Lent in 1725:[3]

The three last Sundays before Ash Wednesday are called Septuagesima, Sexagesima and Estomihi. In 1725 the feast of Purification (2 February) fell between the first and the second of these Sundays:[3]

Lent up to Palm Sunday edit

In Leipzig there was no music during Lent (starting on Ash Wednesday), except for Annunciation (25 March) and the Passion music on Good Friday. In 1725 Annunciation coincided with Palm Sunday:[3]

After this cantata the consecutive set of chorale cantatas breaks off.[3]

Continuation of the second annual cycle edit

Newly composed cantatas, to make the year cycle complete up to Trinity Sunday, were no longer in the chorale cantata format, possibly because Bach lost his librettist, likely Andreas Stübel, who died on 31 January 1725. [1]

Only three cantatas staged between Good Friday and Trinity of 1725 became associated with the chorale cantata cycle. Bach's second year cycle of cantatas is complete apart from the cantatas for Christmas II, Epiphany IV–VI, and Trinity IV, VI, XII and XXVI–XXVII. For most of the occasions that lack a cantata in the second cycle there are however extant chorale cantatas.

Good Friday and Easter edit

Bach did not present much newly composed music for the Good Friday and Easter services of 1725. The St John Passion, which was a repeat performance of the previous year, now in the St. Thomas church (where Bach had initially attempted to stage its premiere), did, however, contain four new movements (BWV 244/29, 245a, 245b and 245c).

On Easter, 1 April 1725, Bach had two cantatas performed:

  • A revised version of the per omnes versus chorale cantata Christ lag in Todes Banden, the first version of which had likely been composed 18 years earlier.
  • Kommt, fliehet und eilet, in 1725 indicated as a cantata, is what in later versions would become Bach's Easter Oratorio. It was a parody of a secular cantata he had composed for 23 February 1725: the Shepherd Cantata, possibly his first collaboration with Picander. Probably Picander was also the librettist who provided the parody text for the 1725 Easter cantata.

Easter Monday to the second Sunday after Easter edit

There are three extant Bach cantatas premiered in the period from Easter Monday to the second Sunday after Easter 1725. A shared characteristic of these cantatas is their structure: they start with a passage from the bible (vox Christi in the last of these cantatas), followed by an Aria, then a chorale for one or two voices, Recitative, Aria, and a concluding four-part chorale. The librettist of these cantatas is unknown, but is likely the same for all three.[5]

The first Sunday after Easter, Quasimodogeniti, concludes the Octave of Easter, and the next Sunday is called Misericordias Domini:[3]

None of these cantatas were included in the chorale cantata cycle remaining at St. Thomas in 1830: the Easter II cantata retained in that incomplete cycle was a later composition.

Cantatas with a libretto by C. M. von Ziegler: third Sunday after Easter to Trinity 1725 edit

See also: Christiana Mariana von Ziegler § Libretti

All further second cycle cantatas had Christiana Mariana von Ziegler as librettist. These cantatas are also the only ones for which Bach appears to have collaborated with this librettist. The occasions for which these cantatas were written include Jubilate, Cantate, Rogate, Ascension, Exaudi, Pentecost, and Trinity:[3]

None of the von Ziegler cantatas are chorale cantatas in the strict sense, although the Ascension cantata and the Pentecost Monday cantata open with a chorale fantasia. These two cantatas (BWV 128 and 68) are sometimes associated with the chorale cantata cycle,[3] especially the second one while it was included in the chorale cantata cycle that remained at St. Thomas until the 19th century.[4]

Chorale cantatas composed after Trinity 1725 edit

Bach continued to compose chorale cantatas after his second year in Leipzig, at least up to 1735. However, the chorale cantata cycle that survived the 18th century remains an incomplete cycle, primarily missing a few cantatas for the Easter to Trinity period.

BWV 80 edit

See also: BWV 80

The chorale cantata for Reformation Day (31 October) Ein feste Burg ist unser Gott, BWV 80, originated in several stages:[6]

  • The chorale cantata apparently retained most, if not all, movements of the Alles, was von Gott geboren cantata (BWV 80a), written in Weimar. The libretto of this early version of the BWV 80 cantata survives, but its music is only known from its subsequent versions. BWV 80a is neither a Reformation Day cantata, nor a chorale cantata, but it contains an extract of Luther's "Ein feste Burg ist unser Gott" hymn.[6][7]
  • BWV 80b, a.k.a. the first Leipzig version of the Ein feste Burg ist unser Gott chorale cantata for Reformation Day, is the only version of the cantata of which autograph pages survive: these autograph fragments, which are also the only evidence of this version, ended up in three libraries in two continents, and give a very incomplete picture of the version.[8] Its first performance date is the object of scholarly informed guesses (31 October implied for the below dates):
    • 1723: according to Christoph Wolff (1991).[9] Thus BWV 80 may be the only other chorale cantata, apart from BWV 4, for which an early chorale cantata version preceded Bach's second year in Leipzig. In 1723 Reformation Day coincided with Trinity XXIII: a more conventional view is that in 1723 Bach probably chose for a repeat performance of his 1715 cantata for that occasion (BWV 163).[10]
    • 1724: The 1982 Zwang catalogue places the first performance of BWV 80's early chorale cantata version in 1724.[2] In that case there would be 41 extant chorale cantatas with a first performance in Leipzig between Trinity Sunday 1724 and Easter 1725 (not included). Nonetheless, the chorale cantata qualifier is not entirely correct for the BWV 80 and 80b versions of the cantata, due to the inner movements of these versions largely deriving from a pre-existing libretto elaborating on other topics beside the Lutheran hymn.[6][11]
    • The third cantata cycle years 1725 (BWV 79),[6][12] 1726 and 1727 (mourning period without figural music)[8] are usually not seen as possible dates for the first performance of the BWV 80b version.
    • In 1728 Reformation Day again coincided with Trinity XXIII: a Picander libretto for that occasion may have been set by Bach. However, conventional scholarship assigns 1728–1731 as the period during which the BWV 80b version of the cantata was likely performed for the first time.[3][6][8]
  • Bach's ultimate BWV 80 version originated some time after the 80b version, and was completed before it was copied in the 1740s. As such, this version of the cantata is seen as a later addition to the chorale cantata cycle.[3][6][11]
  • Two movements of the BWV 80 version known from the BGA edition have an orchestration which the composer's son Wilhelm Friedemann extended with trumpets after his father's death.[6][11]

Occasions without an extant second cycle cantata edit

Bach composed more cantatas for his chorale cantata cycle after Trinity 1725, apparently in an effort to have a complete standard year cycle consisting exclusively of such cantatas:[3]

  • Ach Gott, wie manches Herzeleid, BWV 58: cantata for New Year I (= Christmas II). An early version of this cantata, for 5 January 1727, is partially lost. The later extant version, premiered 4 January 1733 or 3 January 1734, was published by the Bach-Gesellschaft in their volume Vol. 122, p. 133 ff. There had not been a Sunday between New Year and Epiphany in 1725: although the cantata is not completely consistent with the chorale cantata format it was intended as the chorale cantata cycle's New Year I cantata.
  • Wär Gott nicht mit uns diese Zeit, BWV 14, composed for Epiphany IV 1735 (there hadn't been an Epiphany IV Sunday in 1725). This is the only chorale cantata of the chorale cantata cycle that was ostensibly composed after 1734, in contrast to Philipp Spitta's assumption in the 19th century that almost all chorale cantatas had been composed after 1734. It is however true that Bach revised some of his chorale cantatas in the last years of his life, and that these are the versions usually published.
  • Ich ruf zu dir, Herr Jesu Christ, BWV 177, composed for Trinity IV 1732 (in 1724 Trinity IV had coincided with Visitation)
  • Es ist das Heil uns kommen her, BWV 9, an Achtliederbuch chorale cantata, composed for Trinity VI 1732. There is no extant cantata composed for Trinity VI 1724.
  • Lobe den Herren, den mächtigen König der Ehren, BWV 137, a per omnes versus chorale cantata, composed for Trinity XII 1725. There is no extant cantata composed for Trinity XII 1724.
  • Wachet auf, ruft uns die Stimme, BWV 140, composed for Trinity XXVII 1731: there had not been a Trinity XXVII Sunday in 1724.

All six of these chorale cantatas remained in the chorale cantata cycle kept at St. Thomas.[4]

Replacing second cycle cantatas edit

Two chorale cantatas replacing other cantatas composed for occasions between Easter and Trinity 1725 also remained in the St. Thomas collection:[3][4]

Other chorale cantatas edit

There is uncertainty regarding four additional extant chorale cantatas as to time of origin (narrowed down to late 1720s–early 1730s) and occasion, all of them using hymn text without modification, but none of them included in the chorale cantata cycle kept at St. Thomas:[3][4]

Some of these may have been intended for a wedding ceremony and/or as a generic cantata that could be used for any occasion.

Reception edit

Although we have no account of the reception of Bach's chorale cantatas by the congregation in Leipzig, we know that some of these cantatas were the only works that the city of Leipzig was interested in keeping alive after Bach's death: his successors performed several of them.[1] After Doles, who was Thomaskantor until 1789, the practice of performing Bach cantatas in Leipzig was interrupted until Kantor Müller started to revive some of them from 1803.[4]

Bach's early biographers (his son Carl Philipp Emanuel and Johann Friedrich Agricola in the Nekrolog and Forkel in his 1802 biography) gave little or no attention to individual cantatas, and confined themselves to mentioning that Bach had composed five complete cycles of church cantatas. Scholarship later indicated the chorale cantata cycle as Bach's second cycle of church cantatas. The performance parts of 44 chorale cantatas were about all that was left of Bach's music in the St. Thomas church by 1830. In 1878 Alfred Dörffel described this incomplete cantata cycle in the introduction of the thematic catalogue for the first 120 cantatas published by the Bach Gesellschaft.[4]

Far from seeing a chorale cantata cycle tied to Bach's second year in Leipzig, Philipp Spitta, in the 1880 second volume of his Bach-biography, described the chorale cantata as a genre Bach only converged to in his later years.[13] Like Spitta, Reginald Lane Poole (1882) and Charles Sanford Terry (1920) saw the chorale cantata as a development of the composer's later years, and failed to list more than a handful, let alone a cycle, of such cantatas premiered between Trinity 1724 and Easter 1725 in their chronological lists of Bach's cantatas.[14][15] Questionable chronologies and minor differences aside, they followed in Spitta's footsteps praising Bach's so-called "later" chorale cantatas as an epitome of the composer's art.[13][16][17]

The three editions of the Bach-Werke-Verzeichnis (BWV) that appeared in the second half of the 20th century gave little attention to the cycles of Bach's cantatas: the principles for assigning BWV numbers, as laid down by Wolfgang Schmieder for the catalogue's first edition in 1950, did not result in the chorale cantatas being identifiable as a group or cycle in the catalogue.[18] In the New Bach Edition cantatas were grouped by liturgical function (occasion), so also in that edition the chorale cantatas did not come out as a group or cycle.[19]

In the 21st century Klaus Hofmann has termed the cycle "the largest musical project that the composer ever undertook: the 'chorale cantata year'".[20][1] The bach-digital.de website, managed by, among others, the Bach Archive, provided the "chorale cantata" qualification for all compositions belonging to this group (all other church cantatas at that website being indicated as sacred cantatas). It is the only cycle of Bach cantatas that is recognisable as a group on that website.[21]

References edit

  1. ^ a b c d Hofmann, Klaus (2002). "O Ewigkeit, du Donnerwort, BWV 20 / O eternity, thou thunderous word" (PDF). bach-cantatas.com. p. 5. Retrieved 5 June 2012.
  2. ^ a b Philippe (and Gérard) Zwang. Guide pratique des cantates de Bach. Paris, 1982. ISBN 2-221-00749-2. See Johann Sebastian Bach: Correspondance Catalogues Zwang — Schmeider at www.musiqueorguequebec.ca
  3. ^ a b c d e f g h i j k l m n o p q Günther Zedler. Die Kantaten von Johann Sebastian Bach: Eine Einführung in die Werkgattung. Books on Demand, 2011. ISBN 9783842357259, p. 32–37
  4. ^ a b c d e f g h Alfred Dörffel. Bach-Gesellschaft Ausgabe Volume 27: Thematisches Verzeichniss der Kirchencantaten No. 1–120. Breitkopf & Härtel, 1878. Introduction, pp. V–IX
  5. ^ John Eliot Gardiner (2004). "Cantatas for the First Sunday after Trinity / St Giles Cripplegate, London" (PDF). bach-cantatas.com. p. 2. Retrieved 5 June 2012.
  6. ^ a b c d e f g Alfred Dürr, translated by Richard D. P. Jones. "6. The Reformation Festival: BWV 80, 79", pp. 707–714 in Part II: Church Cantatas of The Cantatas of J. S. Bach: With Their Librettos in German-English Parallel Text. Oxford: OUP, 2006. ISBN 0199297762
  7. ^ Work 00100 at Bach Digital website (09/03/2017)
  8. ^ a b c Work 00101 (17/6/2017), and subsequent manuscript pages F-Ppo A. Mickiewicz Rkp. 973 (23/6/2017), RUS-SPsc BWV 80b (26/7/2017) and US-PRscheide BWV 80b (19/7/2017), at Bach Digital website
  9. ^ Christoph Wolff. "The Reformation Cantata Ein feste Burg", pp 152–161 in Bach: Essays on His Life and Music. Harvard University Press, 1991. ISBN 0674059263
  10. ^ Work 00198 at Bach Digital website (10/03/2017)
  11. ^ a b c Work 00099 at Bach Digital website (19/07/2017)
  12. ^ Work 00098 at Bach Digital website (18/07/2017)
  13. ^ a b Philipp Spitta, translated by Clara Bell and J. A. Fuller Maitland. Book V: The Final Period of Bach's Life and Work, Chapter III: "The later Chorale Cantatas" pp. 64–108 in Johann Sebastian Bach: His Work and Influence on the Music of Germany, 1685–1750 Volume 3. Novello & Co. 1884–1885.
  14. ^ Reginald Lane Poole. Sebastian Bach. London: Sampson Low, Marston, Searle, & Rivington. 1882, p. 133
  15. ^ Johann Nikolaus Forkel translated with notes and appendices by Charles Sanford Terry. Johann Sebastian Bach: His Life, Art, and Work New York: Harcourt, Brace and Howe; London: Constable. 1920, pp. 198–199
  16. ^ Poole, o.c. p. 88ff.
  17. ^ Forkel/Terry, o.c. p. 174ff.
  18. ^ Wolfgang Schmieder, editor. "Introduction" of Thematisch-systematisches Verzeichnis der musikalischen Werke von Johann Sebastian Bach. Leipzig: Breitkopf & Härtel, 1950.
  19. ^ The New Bach Edition – Series I: Cantatas 2016-03-04 at the Wayback Machine at the Bärenreiter website
  20. ^ Sadie, Stanley, ed. (2001). The New Grove Dictionary of Music and Musicians. Oxford University Press. pp. II 331–5, V 26–7, 746, XIV 511–4. ISBN 978-0-19-517067-2.
  21. ^ "Choralkantate"[permanent dead link] at www.bach-digital.de

Further reading edit

  • Wolff, Christoph (2020). "Chapter 4 – The Most Ambitious of All Projects: Chorale Cantatas throughout the Year". Bach's Musical Universe: The Composer and His Work. W. W. Norton & Company. ISBN 9780393651799.
Church cantatas by Johann Sebastian Bach by chronology
Preceded by Bach's second cantata cycle
1724–25 		Succeeded by

January 01, 1970
chorale, cantata, cycle, johann, sebastian, bach, chorale, cantata, cycle, year, cycle, church, cantatas, started, composing, leipzig, from, first, sunday, after, trinity, 1724, followed, cantata, cycle, composed, from, appointment, thomaskantor, after, trinit. Johann Sebastian Bach s chorale cantata cycle is the year cycle of church cantatas he started composing in Leipzig from the first Sunday after Trinity in 1724 It followed the cantata cycle he had composed from his appointment as Thomaskantor after Trinity in 1723 Bach s second cantata cycle is commonly used as a synonym for his chorale cantata cycle but strictly speaking both cycles overlap only for 40 cantatas Two further chorale cantatas may belong to both cycles the final version of Christ lag in Todes Banden BWV 4 and the earliest version of Ein feste Burg ist unser Gott BWV 80 it is however uncertain whether these versions were first presented in Bach s second year in Leipzig Bach composed a further 13 cantatas in his second year at Leipzig none of them chorale cantatas although two of them became associated with the chorale cantata cycle After his second year in Leipzig he composed at least eight further cantatas for inclusion in his chorale cantata cycle Around the start of the Bach Revival in the 19th century almost no manuscripts of Bach s music remained in St Thomas in Leipzig apart from an incomplete chorale cantata cycle In Leipzig the chorale cantatas were after the motets the second most often performed compositions of Bach between the composer s death and the Bach Revival Philipp Spitta in his 19th century biography of the composer praised the chorale cantatas but failed to see them as a cycle tied to 1724 25 It took about a century after Spitta before Bach s cantata cycles were analysed in scholarly literature but then Bach s ambitious project to write a chorale cantata for each occasion of the liturgical year was characterized as the largest musical project that the composer ever undertook Contents 1 Development of the second cantata cycle and the chorale cantata cycle 1 1 Chorale cantatas composed as part of the second annual cycle Trinity I 1724 to Palm Sunday 1725 1 1 1 Sundays after Trinity 1 1 2 Advent 1724 to Epiphany 1725 1 1 3 Sundays after Epiphany 1 1 4 Lent up to Palm Sunday 1 2 Continuation of the second annual cycle 1 2 1 Good Friday and Easter 1 2 2 Easter Monday to the second Sunday after Easter 1 2 3 Cantatas with a libretto by C M von Ziegler third Sunday after Easter to Trinity 1725 1 3 Chorale cantatas composed after Trinity 1725 1 3 1 BWV 80 1 3 2 Occasions without an extant second cycle cantata 1 3 3 Replacing second cycle cantatas 1 3 4 Other chorale cantatas 2 Reception 3 References 4 Further readingDevelopment of the second cantata cycle and the chorale cantata cycle editPossibly the idea for writing a series of chorale cantatas was inspired by the bicentennial anniversary of the first publications of Lutheran hymnals 1524 1 The first of these early hymnals is the Achtliederbuch containing eight hymns and five melodies Four chorale cantatas use text and or melody of a hymn in that early publication BWV 2 9 38 and 117 Another 1524 hymnal is the Erfurt Enchiridion BWV 62 91 96 114 121 and 178 are based on hymns from that publication BWV 14 and 125 were based on hymns from Eyn geystlich Gesangk Buchleyn also published in 1524 Apart from some cantatas composed after Palm Sunday 1725 the chorale cantata cycle and the second cantata cycle overlap and the two designations are often used interchangeably in scholarly literature Otherwise the cycle is described as breaking off after Palm Sunday or Easter 1725 There are some cantatas that belong to one of both cycles but not to the other for instance the chorale cantata for Trinity 1727 replaces the Trinity cantata of the second cycle composed in 1725 Also some cantatas traditionally seen as belonging to the chorale cantata cycle are not chorale cantatas in a strict sense for instance the cantata for the Sunday between New Year and Epiphany added to the chorale cantata cycle in 1727 Neither the second cantata cycle nor the chorale cantata cycle are complete annual cycles as extant Even a merging of both cycles into one with some occasions having two cantatas which hardly can be seen as an intention of the composer would still be missing a few cantatas e g for Easter 3 and Trinity XXVI Chorale cantatas composed as part of the second annual cycle Trinity I 1724 to Palm Sunday 1725 edit All extant church cantatas Bach composed for occasions from 11 June 1724 Trinity I to 25 March 1725 Palm Sunday are chorale cantatas As such these cantatas have consecutive K numbers in the chronological Zwang catalogue for Bach s cantatas published in 1982 In the Zwang catalogue the cantata for Reformation Day Ein feste Burg ist unser Gott BWV 80 is inserted between the cantatas for Trinity XXI and XII as a cantata premiered in 1724 2 More recently this cantata is however no longer considered to have been composed in 1724 3 Bach s last newly composed chorale cantata in his second year in Leipzig was Wie schon leuchtet der Morgenstern BWV 1 for the feast of the Annunciation on 25 March which fell on Palm Sunday in 1725 Of the chorale cantatas composed up to Palm Sunday 1725 only K 77 84 89 95 96 and 109 BWV 135 113 130 80 115 and 111 were not included in the chorale cantata cycle that was still extant in Leipzig in 1830 4 Sundays after Trinity edit In 1724 the period of the Sundays after Trinity included St John s Day 24 June Visitation 2 July that year coinciding with Trinity IV St Michael s Day 29 September and Reformation Day 31 October That year the last Sunday after Trinity that is the last Sunday before Advent was Trinity XXV 3 Trinity I 11 June 1724 O Ewigkeit du Donnerwort BWV 20 K 74 Trinity II 18 June 1724 Ach Gott vom Himmel sieh darein BWV 2 K 75 St John s Day 24 June 1724 Christ unser Herr zum Jordan kam BWV 7 K 76 Trinity III 25 June 1724 Ach Herr mich armen Sunder BWV 135 K 77 Visitation 2 July 1724 that year coinciding with Trinity IV Meine Seel erhebt den Herren BWV 10 K 78 Trinity V 9 July 1724 Wer nur den lieben Gott lasst walten BWV 93 K 79 Trinity VI no extant Bach cantata for this Sunday in 1724 Trinity VII 23 July 1724 Was willst du dich betruben BWV 107 K 80 Trinity VIII 30 July 1724 Wo Gott der Herr nicht bei uns halt BWV 178 K 81 Trinity IX 6 August 1724 Was frag ich nach der Welt BWV 94 K 82 Trinity X 13 August 1724 Nimm von uns Herr du treuer Gott BWV 101 K 83 Trinity XI 20 August 1724 Herr Jesu Christ du hochstes Gut BWV 113 K 84 Trinity XII no extant Bach cantata for this Sunday in 1724 Council election no extant Bach cantata for this Monday in 1724 Trinity XIII 3 September 1724 Allein zu dir Herr Jesu Christ BWV 33 K 85 Trinity XIV 10 September 1724 Jesu der du meine Seele BWV 78 K 86 Trinity XV 17 September 1724 Was Gott tut das ist wohlgetan BWV 99 K 87 Trinity XVI 24 September 1724 Liebster Gott wenn werd ich sterben BWV 8 K 88 St Michael s Day 29 September 1724 Herr Gott dich loben alle wir BWV 130 K 89 Trinity XVII 1 October 1724 Ach lieben Christen seid getrost BWV 114 K 90 Trinity XVIII 8 October 1724 Herr Christ der einge Gottessohn BWV 96 K 91 Trinity XIX 15 October 1724 Wo soll ich fliehen hin BWV 5 K 92 Trinity XX 22 October 1724 Schmucke dich o liebe Seele BWV 180 K 93 Trinity XXI 29 October 1724 Aus tiefer Not schrei ich zu dir BWV 38 K 94 Reformation Day Ein feste Burg ist unser Gott BWV 80 K 95 there is however uncertainty whether an early version of this cantata was composed for or even performed at 31 October 1724 Trinity XXII 5 November 1724 Mache dich mein Geist bereit BWV 115 K 96 Trinity XXIII 12 November 1724 Wohl dem der sich auf seinen Gott BWV 139 K 97 Trinity XXIV 19 November 1724 Ach wie fluchtig ach wie nichtig BWV 26 K 98 Trinity XXV 26 November 1724 Du Friedefurst Herr Jesu Christ BWV 116 K 99 Advent 1724 to Epiphany 1725 edit Occasion Secondcantatacycle Choralecantatacycle 1 Advent I BWV 62 2 Christmas BWV 91 3 Christmas 2 BWV 121 4 Christmas 3 BWV 133 5 Christmas I BWV 122 6 New Year BWV 41 7 New Year I BWV 58 8 Epiphany BWV 123 9 Epiphany I BWV 124 10 Epiphany II BWV 3 11 Epiphany III BWV 111 12 Epiphany IV BWV 14 13 Epiphany V 14 Epiphany VI 15 Septuagesima BWV 92 16 Purification BWV 125 17 Sexagesima BWV 126 18 Estomihi BWV 127 19 AnnunciationPalm Sunday BWV 1 20 Easter BWV 4 BWV 249 BWV 4 21 Easter 2 BWV 6 22 Easter 3 BWV 158 23 Easter I BWV 42 24 Easter II BWV 85 BWV 112 25 Easter III BWV 103 26 Easter IV BWV 108 27 Easter V BWV 87 28 Ascension BWV 128 BWV 128 29 Ascension I BWV 183 30 Pentecost BWV 74 31 Pentecost 2 BWV 68 BWV 68 32 Pentecost 3 BWV 175 33 Trinity BWV 176 BWV 129 34 Trinity I BWV 20 35 Trinity II BWV 2 36 St John s D BWV 7 37 Trinity III BWV 135 38 Trinity IV BWV 177 39 Visitation BWV 10 40 Trinity V BWV 93 41 Trinity VI BWV 9 42 Trinity VII BWV 107 43 Trinity VIII BWV 178 44 Trinity IX BWV 94 45 Trinity X BWV 101 46 Trinity XI BWV 113 47 Trinity XII BWV 137 48 Trinity XIII BWV 33 49 Trinity XIV BWV 78 50 Trinity XV BWV 99 51 Trinity XVI BWV 8 52 St Michael s D BWV 130 53 Trinity XVII BWV 114 54 Trinity XVIII BWV 96 55 Trinity XIX BWV 5 56 Trinity XX BWV 180 57 Trinity XXI BWV 38 58 Reformation D BWV 80b BWV 80 59 Trinity XXII BWV 115 60 Trinity XXIII BWV 139 61 Trinity XXIV BWV 26 62 Trinity XXV BWV 116 63 Trinity XXVI 64 Trinity XXVII BWV 140 A new liturgical year starts with the first Sunday of Advent when a cantata cycle is listed without taking the chronology of composition into account this is where the list starts 4 The period from Advent 1724 to Epiphany 1725 included Christmas 25 December New Year 1 January and Epiphany 6 January 3 First Sunday of Advent Advent I 3 December 1724 Nun komm der Heiden Heiland BWV 62 K 100 In Leipzig concerted music was not allowed for the second to fourth Sunday of Advent silent time so the next cantatas in the cycle are those for Christmas 3 Christmas Day Feast of the Nativity of Christ 25 December 1724 Gelobet seist du Jesu Christ BWV 91 K 101 Second Day of Christmas Christmas 2 26 December 1724 Christum wir sollen loben schon BWV 121 K 102 Third Day of Christmas Christmas 3 27 December 1724 Ich freue mich in dir BWV 133 K 103 First Sunday after Christmas Christmas I 31 December 1724 Das neugeborne Kindelein BWV 122 K 104 New Year Feast of the Circumcision of Christ 1 January 1725 Jesu nun sei gepreiset BWV 41 K 105 In 1725 the next occasion was Epiphany while there was no Sunday between New Year and Epiphany 3 Epiphany 6 January 1725 Liebster Immanuel Herzog der Frommen BWV 123 K 106 Sundays after Epiphany edit There were six Sundays between Epiphany and Lent in 1725 3 Epiphany I 7 January 1725 Meinen Jesum lass ich nicht BWV 124 K 107 Epiphany II 14 January 1725 Ach Gott wie manches Herzeleid BWV 3 K 108 Epiphany III 21 January 1725 Was mein Gott will das g scheh allzeit BWV 111 K 109 The three last Sundays before Ash Wednesday are called Septuagesima Sexagesima and Estomihi In 1725 the feast of Purification 2 February fell between the first and the second of these Sundays 3 Septuagesima 28 January 1725 Ich hab in Gottes Herz und Sinn BWV 92 K 110 Purification 2 February 1725 Mit Fried und Freud ich fahr dahin BWV 125 K 111 Sexagesima 4 February 1725 Erhalt uns Herr bei deinem Wort BWV 126 K 112 Estomihi 11 February 1725 Herr Jesu Christ wahr Mensch und Gott BWV 127 K 113 Lent up to Palm Sunday edit In Leipzig there was no music during Lent starting on Ash Wednesday except for Annunciation 25 March and the Passion music on Good Friday In 1725 Annunciation coincided with Palm Sunday 3 Annunciation Palm Sunday 25 March 1725 Wie schon leuchtet der Morgenstern BWV 1 K 114 After this cantata the consecutive set of chorale cantatas breaks off 3 Continuation of the second annual cycle edit Newly composed cantatas to make the year cycle complete up to Trinity Sunday were no longer in the chorale cantata format possibly because Bach lost his librettist likely Andreas Stubel who died on 31 January 1725 1 Only three cantatas staged between Good Friday and Trinity of 1725 became associated with the chorale cantata cycle Bach s second year cycle of cantatas is complete apart from the cantatas for Christmas II Epiphany IV VI and Trinity IV VI XII and XXVI XXVII For most of the occasions that lack a cantata in the second cycle there are however extant chorale cantatas Good Friday and Easter edit Bach did not present much newly composed music for the Good Friday and Easter services of 1725 The St John Passion which was a repeat performance of the previous year now in the St Thomas church where Bach had initially attempted to stage its premiere did however contain four new movements BWV 244 29 245a 245b and 245c For Good Friday 30 March 1725 Bach presented the second version of his St John Passion the only version of that Passion opening with a chorale fantasia BWV 244 29 based on Sebald Heyden s O Mensch bewein dein Sunde gross On Easter 1 April 1725 Bach had two cantatas performed A revised version of the per omnes versus chorale cantata Christ lag in Todes Banden the first version of which had likely been composed 18 years earlier Kommt fliehet und eilet in 1725 indicated as a cantata is what in later versions would become Bach s Easter Oratorio It was a parody of a secular cantata he had composed for 23 February 1725 the Shepherd Cantata possibly his first collaboration with Picander Probably Picander was also the librettist who provided the parody text for the 1725 Easter cantata Easter Monday to the second Sunday after Easter edit There are three extant Bach cantatas premiered in the period from Easter Monday to the second Sunday after Easter 1725 A shared characteristic of these cantatas is their structure they start with a passage from the bible vox Christi in the last of these cantatas followed by an Aria then a chorale for one or two voices Recitative Aria and a concluding four part chorale The librettist of these cantatas is unknown but is likely the same for all three 5 The first Sunday after Easter Quasimodogeniti concludes the Octave of Easter and the next Sunday is called Misericordias Domini 3 Easter Monday Easter 2 2 April 1725 Bleib bei uns denn es will Abend werden BWV 6 The third movement chorale soprano soloist has the first two stanzas of Ach bleib bei uns Herr Jesu Christ by Philipp Melanchthon and Nikolaus Selnecker respectively as text The closing chorale is a harmonisation of the second stanza of Luther s Erhalt uns Herr bei deinem Wort Easter Tuesday Easter 3 3 April 1725 no extant cantata for this occasion in Bach s second cantata cycle There s a small chance Der Friede sei mit dir BWV 158 may have been intended for this occasion in 1725 the time of origin of that possibly incomplete cantata is however very uncertain Quasimodogeniti Easter I 8 April 1725 Am Abend aber desselbigen Sabbats BWV 42 The cantata opens with an instrumental sinfonia The text of the fourth movement duet for soprano and tenor is the first stanza of the chorale Verzage nicht o Hauflein klein 1632 by Jakob Fabricius theologian de also attributed to Johann Michael Altenburg The closing four part chorale consists of two stanzas added to Martin Luther s Erhalt uns Herr bei deinem Wort Verleih uns Frieden gnadiglich Luther s German version of Da pacem Domine Give peace Lord 1531 and Gib unsern Fursten und all r Obrigkeit Give our rulers and all lawgivers a stanza by Johann Walter paraphrasing 1 Timothy 2 2 1566 concluded with a final amen Misericordias Domini Easter II 15 April 1725 Ich bin ein guter Hirt BWV 85 The chorale for the third movement soprano soloist is the first stanza of Cornelius Becker s hymn Der Herr ist mein getreuer Hirt 1598 a paraphrase of Psalm 23 The closing chorale is Ist Gott mein Schutz und treuer Hirt the fourth stanza of Ernst Christoph Homberg s hymn Ist Gott mein Schild und Helfersmann None of these cantatas were included in the chorale cantata cycle remaining at St Thomas in 1830 the Easter II cantata retained in that incomplete cycle was a later composition Cantatas with a libretto by C M von Ziegler third Sunday after Easter to Trinity 1725 edit See also Christiana Mariana von Ziegler Libretti All further second cycle cantatas had Christiana Mariana von Ziegler as librettist These cantatas are also the only ones for which Bach appears to have collaborated with this librettist The occasions for which these cantatas were written include Jubilate Cantate Rogate Ascension Exaudi Pentecost and Trinity 3 Jubilate Sunday Easter III 22 April 1725 Ihr werdet weinen und heulen BWV 103 Cantate Sunday Easter IV 29 April 1725 Es ist euch gut dass ich hingehe BWV 108 Rogate Sunday Easter V 6 May 1725 Bisher habt ihr nichts gebeten in meinem Namen BWV 87 Ascension 10 May 1725 Auf Christi Himmelfahrt allein BWV 128 Exaudi Ascension I 13 May 1725 Sie werden euch in den Bann tun BWV 183 Pentecost 20 May 1725 Wer mich liebet der wird mein Wort halten BWV 74 Pentecost Monday Pentecost 2 21 May 1725 Also hat Gott die Welt geliebt BWV 68 Pentecost Tuesday Pentecost 3 22 May 1725 Er rufet seinen Schafen mit Namen BWV 175 Trinity 27 May 1725 Es ist ein trotzig und verzagt Ding BWV 176 None of the von Ziegler cantatas are chorale cantatas in the strict sense although the Ascension cantata and the Pentecost Monday cantata open with a chorale fantasia These two cantatas BWV 128 and 68 are sometimes associated with the chorale cantata cycle 3 especially the second one while it was included in the chorale cantata cycle that remained at St Thomas until the 19th century 4 Chorale cantatas composed after Trinity 1725 edit Bach continued to compose chorale cantatas after his second year in Leipzig at least up to 1735 However the chorale cantata cycle that survived the 18th century remains an incomplete cycle primarily missing a few cantatas for the Easter to Trinity period BWV 80 edit See also BWV 80 The chorale cantata for Reformation Day 31 October Ein feste Burg ist unser Gott BWV 80 originated in several stages 6 The chorale cantata apparently retained most if not all movements of the Alles was von Gott geboren cantata BWV 80a written in Weimar The libretto of this early version of the BWV 80 cantata survives but its music is only known from its subsequent versions BWV 80a is neither a Reformation Day cantata nor a chorale cantata but it contains an extract of Luther s Ein feste Burg ist unser Gott hymn 6 7 BWV 80b a k a the first Leipzig version of the Ein feste Burg ist unser Gott chorale cantata for Reformation Day is the only version of the cantata of which autograph pages survive these autograph fragments which are also the only evidence of this version ended up in three libraries in two continents and give a very incomplete picture of the version 8 Its first performance date is the object of scholarly informed guesses 31 October implied for the below dates 1723 according to Christoph Wolff 1991 9 Thus BWV 80 may be the only other chorale cantata apart from BWV 4 for which an early chorale cantata version preceded Bach s second year in Leipzig In 1723 Reformation Day coincided with Trinity XXIII a more conventional view is that in 1723 Bach probably chose for a repeat performance of his 1715 cantata for that occasion BWV 163 10 1724 The 1982 Zwang catalogue places the first performance of BWV 80 s early chorale cantata version in 1724 2 In that case there would be 41 extant chorale cantatas with a first performance in Leipzig between Trinity Sunday 1724 and Easter 1725 not included Nonetheless the chorale cantata qualifier is not entirely correct for the BWV 80 and 80b versions of the cantata due to the inner movements of these versions largely deriving from a pre existing libretto elaborating on other topics beside the Lutheran hymn 6 11 The third cantata cycle years 1725 BWV 79 6 12 1726 and 1727 mourning period without figural music 8 are usually not seen as possible dates for the first performance of the BWV 80b version In 1728 Reformation Day again coincided with Trinity XXIII a Picander libretto for that occasion may have been set by Bach However conventional scholarship assigns 1728 1731 as the period during which the BWV 80b version of the cantata was likely performed for the first time 3 6 8 Bach s ultimate BWV 80 version originated some time after the 80b version and was completed before it was copied in the 1740s As such this version of the cantata is seen as a later addition to the chorale cantata cycle 3 6 11 Two movements of the BWV 80 version known from the BGA edition have an orchestration which the composer s son Wilhelm Friedemann extended with trumpets after his father s death 6 11 Occasions without an extant second cycle cantata edit Bach composed more cantatas for his chorale cantata cycle after Trinity 1725 apparently in an effort to have a complete standard year cycle consisting exclusively of such cantatas 3 Ach Gott wie manches Herzeleid BWV 58 cantata for New Year I Christmas II An early version of this cantata for 5 January 1727 is partially lost The later extant version premiered 4 January 1733 or 3 January 1734 was published by the Bach Gesellschaft in their volume Vol 122 p 133 ff There had not been a Sunday between New Year and Epiphany in 1725 although the cantata is not completely consistent with the chorale cantata format it was intended as the chorale cantata cycle s New Year I cantata War Gott nicht mit uns diese Zeit BWV 14 composed for Epiphany IV 1735 there hadn t been an Epiphany IV Sunday in 1725 This is the only chorale cantata of the chorale cantata cycle that was ostensibly composed after 1734 in contrast to Philipp Spitta s assumption in the 19th century that almost all chorale cantatas had been composed after 1734 It is however true that Bach revised some of his chorale cantatas in the last years of his life and that these are the versions usually published Ich ruf zu dir Herr Jesu Christ BWV 177 composed for Trinity IV 1732 in 1724 Trinity IV had coincided with Visitation Es ist das Heil uns kommen her BWV 9 an Achtliederbuch chorale cantata composed for Trinity VI 1732 There is no extant cantata composed for Trinity VI 1724 Lobe den Herren den machtigen Konig der Ehren BWV 137 a per omnes versus chorale cantata composed for Trinity XII 1725 There is no extant cantata composed for Trinity XII 1724 Wachet auf ruft uns die Stimme BWV 140 composed for Trinity XXVII 1731 there had not been a Trinity XXVII Sunday in 1724 All six of these chorale cantatas remained in the chorale cantata cycle kept at St Thomas 4 Replacing second cycle cantatas edit Two chorale cantatas replacing other cantatas composed for occasions between Easter and Trinity 1725 also remained in the St Thomas collection 3 4 Der Herr ist mein getreuer Hirt BWV 112 chorale cantata for Easter II Misericordias Domini 1731 Gelobet sei der Herr mein Gott BWV 129 chorale cantata for Trinity Sunday 1727 Other chorale cantatas edit There is uncertainty regarding four additional extant chorale cantatas as to time of origin narrowed down to late 1720s early 1730s and occasion all of them using hymn text without modification but none of them included in the chorale cantata cycle kept at St Thomas 3 4 Sei Lob und Ehr dem hochsten Gut BWV 117 Nun danket alle Gott BWV 192 incomplete Was Gott tut das ist wohlgetan BWV 100 In allen meinen Taten BWV 97 Some of these may have been intended for a wedding ceremony and or as a generic cantata that could be used for any occasion Reception editAlthough we have no account of the reception of Bach s chorale cantatas by the congregation in Leipzig we know that some of these cantatas were the only works that the city of Leipzig was interested in keeping alive after Bach s death his successors performed several of them 1 After Doles who was Thomaskantor until 1789 the practice of performing Bach cantatas in Leipzig was interrupted until Kantor Muller started to revive some of them from 1803 4 Bach s early biographers his son Carl Philipp Emanuel and Johann Friedrich Agricola in the Nekrolog and Forkel in his 1802 biography gave little or no attention to individual cantatas and confined themselves to mentioning that Bach had composed five complete cycles of church cantatas Scholarship later indicated the chorale cantata cycle as Bach s second cycle of church cantatas The performance parts of 44 chorale cantatas were about all that was left of Bach s music in the St Thomas church by 1830 In 1878 Alfred Dorffel described this incomplete cantata cycle in the introduction of the thematic catalogue for the first 120 cantatas published by the Bach Gesellschaft 4 Far from seeing a chorale cantata cycle tied to Bach s second year in Leipzig Philipp Spitta in the 1880 second volume of his Bach biography described the chorale cantata as a genre Bach only converged to in his later years 13 Like Spitta Reginald Lane Poole 1882 and Charles Sanford Terry 1920 saw the chorale cantata as a development of the composer s later years and failed to list more than a handful let alone a cycle of such cantatas premiered between Trinity 1724 and Easter 1725 in their chronological lists of Bach s cantatas 14 15 Questionable chronologies and minor differences aside they followed in Spitta s footsteps praising Bach s so called later chorale cantatas as an epitome of the composer s art 13 16 17 The three editions of the Bach Werke Verzeichnis BWV that appeared in the second half of the 20th century gave little attention to the cycles of Bach s cantatas the principles for assigning BWV numbers as laid down by Wolfgang Schmieder for the catalogue s first edition in 1950 did not result in the chorale cantatas being identifiable as a group or cycle in the catalogue 18 In the New Bach Edition cantatas were grouped by liturgical function occasion so also in that edition the chorale cantatas did not come out as a group or cycle 19 In the 21st century Klaus Hofmann has termed the cycle the largest musical project that the composer ever undertook the chorale cantata year 20 1 The bach digital de website managed by among others the Bach Archive provided the chorale cantata qualification for all compositions belonging to this group all other church cantatas at that website being indicated as sacred cantatas It is the only cycle of Bach cantatas that is recognisable as a group on that website 21 References edit a b c d Hofmann Klaus 2002 O Ewigkeit du Donnerwort BWV 20 O eternity thou thunderous word PDF bach cantatas com p 5 Retrieved 5 June 2012 a b Philippe and Gerard Zwang Guide pratique des cantates de Bach Paris 1982 ISBN 2 221 00749 2 See Johann Sebastian Bach Correspondance Catalogues Zwang Schmeider at www wbr musiqueorguequebec wbr ca a b c d e f g h i j k l m n o p q Gunther Zedler Die Kantaten von Johann Sebastian Bach Eine Einfuhrung in die Werkgattung Books on Demand 2011 ISBN 9783842357259 p 32 37 a b c d e f g h Alfred Dorffel Bach Gesellschaft Ausgabe Volume 27 Thematisches Verzeichniss der Kirchencantaten No 1 120 Breitkopf amp Hartel 1878 Introduction pp V IX John Eliot Gardiner 2004 Cantatas for the First Sunday after Trinity St Giles Cripplegate London PDF bach cantatas com p 2 Retrieved 5 June 2012 a b c d e f g Alfred Durr translated by Richard D P Jones 6 The Reformation Festival BWV 80 79 pp 707 714 in Part II Church Cantatas of The Cantatas of J S Bach With Their Librettos in German English Parallel Text Oxford OUP 2006 ISBN 0199297762 Work 00100 at Bach Digital website 09 03 2017 a b c Work 00101 17 6 2017 and subsequent manuscript pages F Ppo A Mickiewicz Rkp 973 23 6 2017 RUS SPsc BWV 80b 26 7 2017 and US PRscheide BWV 80b 19 7 2017 at Bach Digital website Christoph Wolff The Reformation Cantata Ein feste Burg pp 152 161 in Bach Essays on His Life and Music Harvard University Press 1991 ISBN 0674059263 Work 00198 at Bach Digital website 10 03 2017 a b c Work 00099 at Bach Digital website 19 07 2017 Work 00098 at Bach Digital website 18 07 2017 a b Philipp Spitta translated by Clara Bell and J A Fuller Maitland Book V The Final Period of Bach s Life and Work Chapter III The later Chorale Cantatas pp 64 108 in Johann Sebastian Bach His Work and Influence on the Music of Germany 1685 1750 Volume 3 Novello amp Co 1884 1885 Reginald Lane Poole Sebastian Bach London Sampson Low Marston Searle amp Rivington 1882 p 133 Johann Nikolaus Forkel translated with notes and appendices by Charles Sanford Terry Johann Sebastian Bach His Life Art and Work New York Harcourt Brace and Howe London Constable 1920 pp 198 199 Poole o c p 88ff Forkel Terry o c p 174ff Wolfgang Schmieder editor Introduction of Thematisch systematisches Verzeichnis der musikalischen Werke von Johann Sebastian Bach Leipzig Breitkopf amp Hartel 1950 The New Bach Edition Series I Cantatas Archived 2016 03 04 at the Wayback Machine at the Barenreiter website Sadie Stanley ed 2001 The New Grove Dictionary of Music and Musicians Oxford University Press pp II 331 5 V 26 7 746 XIV 511 4 ISBN 978 0 19 517067 2 Choralkantate permanent dead link at www wbr bach digital wbr deFurther reading editWolff Christoph 2020 Chapter 4 The Most Ambitious of All Projects Chorale Cantatas throughout the Year Bach s Musical Universe The Composer and His Work W W Norton amp Company ISBN 9780393651799 Church cantatas by Johann Sebastian Bach by chronology Preceded byBach s first cantata cycle Bach s second cantata cycle1724 25 Succeeded byBach s third cantata cycle Retrieved from https en wikipedia org w index php title Chorale cantata cycle amp oldid 1216691882, wikipedia, wiki, book, books, library,

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