Delphi Masterworks of Johann Sebastian Bach (Illustrated) (Delphi Great Composers Book 3)
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63
?1723. Christmas Day.
Christen ätzet diesen Tag.
?Bach. The opening two lines suggested by a poem in Joh. Jakob Bambach’s “Geistliche Poesien” (Halle, 1720).
Original throughout.
40
?1723. Feast of St. Stephen.
Dazu ist erschienen der Sohn Gottes (1 John iii. 8).
Christian Weiss, senr. Wustmann (note 8) suggests Bach. Certainly same author as Nos. 64, 65 infra.
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.
64
?1723. Feast of St. John the Evangelist.
Sehet, welch’ eine Liebe hat uns der Vater erzeiget (1 John iii. 1).
Christian Weiss, senr. Certainly same author as Nos. 40 supra and 65 infra.
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.
16
?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.
Herr Gott dich loben wir.
?Bach.
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.
†153
1724. Sunday after the Circumcision.
Schau’, lieber Gott, wie meine Feind’.
?Bach.
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.
65
1724. Feast of the Epiphany.
Sie werden aus Saba Alle kommen (Isaiah lx. 6).
?Christian Weiss, senr. Wustmann (note 23) attributes text to author of Nos. 40 and 64 supra, i.e. Bach.
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.
†154
1724. First S. after the Epiphany.
Mein liebster Jesus ist verloren.
?Bach. Wustmann (note 25) attributes it to an anonymous author.
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.
†81
1724. Fourth S. after the Epiphany.
Jesus schlaft, was soll ich hoffen?
?Bach. Wustmann regards texts of Nos. 81 and 154 as being by the same hand (note 35).
St. Matthew viii. 26; Stanza ii. of Johann Franck’s hymn, “Jesu, meine Freude”; rest of libretto original. A. T. B. Soli.
†83
?1724. Feast of the Purification.
Erfreute Zeit im neuen Bunde.
?Bach.
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.
23
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.
Du wahrer Gott und Davids Sohn.
?Bach
Three stanzas of “Christe, du Lamm Gottes”; rest of libretto original. S. A. T. Soli.
4
1724. Easter Day (“Am Osterfeste”)
Christ lag in Todesbanden
Luther.
Choral Cantata. The seven stanzas of the hymn are set in their original form.
12
1724 (or 1725). Third S. after Easter
Weinen, Klagen, Sorgen, Zagen.
?Salomo Franck.
Acts xiv. 22; Stanza vi. of Samuel Rodigast’s hymn, “Was Gott thut, das ist wohlgethan”; rest of libretto original. A. T. B. Soli.
172
1724 (or 1725). Whit Sunday. Perhaps revised c. 1727-30 (see Schweitzer, ii. 162).
Erschallet ihr Lieder.
?Salomo Franck (Spitta ii. 398). Wustmann (note 73) does not support the conjecture.
St. John xiv. 23 Stanza iv. of Philipp Nicolai’s hymn, “Wie schön leuchtet der Morgenstern”; rest of libretto original. Organ obbligato.
184
1724. Whit Tuesday.
Erwunschtes Freudenlicht.
?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.
†165
?1724. Trinity Sunday.
O heil’ges Geist und Wasserbad
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.
179
?1724. Eleventh S. after Trinity.
Siehe zu, dass deine Gottesfurcht nicht Heuchelei sei (Ecclesiastes i. 28)
?Christian Weiss, senr.
Ecclesiastes i. 28, Stanza i. of Christph Tietze’s hymn, “Ich armer Mensch, ich armer Sünder”, rest original S. T. B. Soli.
69
?1724. Twelfth S. after Trinity, c. 1730 adapted as a Ratswahl cantata.
Loben dem herren, meine Seele (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 Johann Hermann’s hymn, “Jesu, nun sei gepreiset”; rest of libretto original. A. T. B. Soli.
190
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.
†73.
c. 1725. Third S. after the Epiphany
Herr, wie du willt, so shick’s mit mir.
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
144
c. 1725. Septuagesima
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.
181
1725. Sexagesima.
Leichtgesinnte Flattergeister.
?Picander.
Original throughout.
67
c. 1725. First S. after Easter (“Quasi-modogeniti”).
Halt’ im Gedachtniss Jesum Christ (2 Timothy ii. 8).
?Christian Weiss, senr. Certainly not Picander, as Spitta (ii. 417) suggests.
2 Timo
thy 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.
104
c. 1725. Second S. after Easter (“Misericordias Domini”).
Du Hirte Israel, höre (Psalm lxxi. 1).
?Christian Weiss, senr.
Psalm lxxx. 1; Stanza i. of Cornelius Becker’s hymn, “Der Herr ist mein getreuer Hirt”; rest of libretto original. T. B. Soli.
† 166
c. 1725. Fourth S. after Easter (“Cantate”).
Wo gehest du hin? (St. John xvi. 6).
?Christian Weiss, senr.
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.
†86
c. 1725. Fifth S. after Easter (“Rogate”).
Wahrlich, wahrlich, ich sage euch (St. John xvi. 23).
?Christian Weiss, senr.
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.
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 (o
r 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.