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.
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.
Incomplete
c. 1730? For a Wedding.
O ewiges Feuer, O Ursprung der Liebe.
Author unknown. See No. 34 infra (c. 1740).
Psalm cxxviii. 4, 5, 6; Benediction; rest of libretto original.
*82
c. 1731. Feast of the Purification.
Ich habe genug.
?Bach.
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.
†84
1731 (or 1732). Septuagesima.
Ich bin vergnügt mit meinem Glücke.
A revision (?by Bach) of a text by Picander (“Cantaten,” 1728-29, p. 101).
Stanza xii. of Emilie Juliane of Schwarzburg-Rudolstadt’s hymn, “Wer weiss, wie nahe mir mein Ende”; rest original. Soprano Solo.
66
1731 (not 1735). Easter Monday. (See No. 134 (1717-22).)
Erfreut euch, ihr Herzen.
?Bach.
Stanza iii. of the hymn, “Christ ist erstanden”; rest of libretto original. A. T. B. Soli.
†42
1731 (not c. 1740). First S. after Easter. (“Quasi-modogeniti”).
Am Abend aber desselbigen Sabbaths (St. John xx. 19).
?Christian Weiss, senr. Wustmann (note 37) suggests Bach.
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.
112
1731. Second S. after Easter (“Misericordias Domini”).
Der Herr ist mein getreuer Hirt (Psalm xxiii.).
Wolfgang Meusel.
Choral Cantata. The five stanzas of the hymn are set in their original form.
†174
1731 (or 1732). Whit Monday. Incorporates older instrumental material. (See No. 194 (1723).)
Ich liebe den Hochsten von ganzem Gemüthe.
Picander (“Cantaten,” 1728-29, p. 147).
Stanza i. of Martin Schalling’s hymn, “Herzlich lieb hab’ ich dich, O Herr”; rest of libretto original. A. T. B. Soli.
9
?1731 Sixth S. after Trinity
Es ist das Heil uns kommen her.
Paul Speratus (arranged).
Choral Cantata. Stanzas i. and xii. are set in their original form. The intermediate stanzas are paraphrased in the Arias and Recitativi.
102
?1731. Tenth S. after Trinity.
Herr, deine Augen sehen nach dem Glauben (Jeremiah v. 3).
?Christian Weiss, senr. Spitta (ii. 464) suggests Picander.
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.
*35
?1731. Twelfth S. after Trinity.
Geist und Seele wird verwirret.
The probability that the Cantata is a converted chamber music composition supports the inference that Bach wrote the text. See Spitta, ii. 447.
Original throughout (2 parts). Alto Solo and Organ obbligato.
25
c. 1731. Fourteenth S. after Trinity.
Es ist nichts gesundes an meinem Leibe (Psalm xxxviii. 3).
?Christian Weiss, senr.
Psalm xxxviii. 3; Stanza xii. of Johann Heermann’s hymn, “Treuer Gott, ich muss dir klagen”; rest of libretto original. S. T. B. Soli.
29
1731. Inauguration of the Town Council (Aug. 27). Incorporates older instrumental material.
Wir danken dir, Gott (Psalm lxxv. i).
?Christian Weiss, Sr.
Pslam lxxv. 1; Stanza v. (posthumous) of Johann Graumann’s hymn “Nun lob’ mein Seel’ den Herren”, rest of libretto original. Organ obbligato.
*51
1731 (or 1732). Fifteenth S. after Trinity.
Jauchzet Gott in allen Landen.
?Bach. A version for Michaelmas (?1737) also exists. See Spitta, ii. 473n.
Stanza v. of Johann Graumann’s hymn, “Nun lob’, mein’ Seel’, den Herren”; rest of libretto original. Soprano Solo.
†27
1731. Sixteenths, after Trinity.
Wer weiss, wie nahe mir mein Ende.
?Bach. The first Aria is suggested by a Neumeister stanza (“Kirchen-Andachten,” p. 294). See Spitta, ii. 451.
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.
†169
1731 (or 1732). Eighteenth S. after Trinity.
Gott soll allein mein Herzehaben.
Author unknown.
Stanza iii. of Luther’s hymn, “Nun bitten wir den heiligen Geist”; rest of libretto original. Alto Solo and Organ obbligato.
149
1731. Feast of St. Michael the Arch-angel.
Man singet mit Freuden vom Sieg (Psalm cxviii. 15).
Christian Weiss, senr. First Chorus borrowed from “Was mir behagt.”
Psalm cxviii. 15, 16; Stanza iii. of Martin Schalling’s hymn, “Herzlich lieb hab’ ich dich, O Herr”; rest of libretto original.
†56
1731 (or 1732). Nineteenth S. after Trinity.
Ich will den Kreuzstab gerne tragen.
?Bach, working on a Neumeister text (“Kirchen-Andachten,” p. 514).
Stanza vi. of Johann Franck’s hymn, “Du, O schones Weltgebäude”; rest of libretto original. Bass Solo.
*49
c. 1731. Twentieth S. after Trinity. Incorporates older instrumental material.
Ich geh’ und suche mit Verlangen.
Author unknown.
Stanza vii. of Philipp Nicolai’s hymn, “Wie schön leuchtet der Morgenstern”; rest of libretto original. S. B. Soli and Organ obbligato.
109
c. 1731. Twenty-first S. after Trinity.
Ich glaube, lieber Herre, hilf meinem Unglauben (St. Mark ix. 24).
?Christian Weiss, senr.
St. Mark ix. 24; Stanza vii. of Lazarus Spengler’s hymn
, “Durch Adams Fall ist ganz verderbt”; rest original. A. T. Soli.
†55
1731 (or 1732). Twenty-second S. after Trinity.
Ich armor Mensch, ich Sündenknecht.
Author unknown.
Stanza vi. of Johann Rist’s hymn, “Werde munter, mein Gemuthe”; rest of libretto original. Tenor Solo.
140
1731 (or later). Twenty-seventh S. after Trinity.
Wachet auf, ruft uns die Stimme.
Philipp Nicolai (arranged by ?Picander).
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.
129
1732. Trinity Sunday.
Gelobet sei der Herr.
Johannes Olearius.
Choral Cantata. The five stanzas of the hymn are set in their original form. S. A. B. Soli.
39
1732 (not c. 1740). First S. after Trinity.
Brich dem Hungrigen dein Brod (Isaiah lviii. 7).
?Christian Weiss, senr. Schweitzer (ii. 343) attributes the text to Picander.
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.
177
1732. Fourth S. after Trinity.
Ich ruf’ zu dir, Herr Jesu Christ.
Johannes Agricola.
Choral Cantata. The five stanzas of the hymn are set in their original form. S. A. T. Soli.
†88
1732. Fifth S. after Trinity.
Siehe, ich will viel Fischer aussenden (Jer. xvi. 16).
?Christian Weiss, senr.
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.
*170
?1732. Sixth S. after Trinity.
Vergnügte Ruh, beliebte Seelenlust.
Author unknown.
Original throughout. See Spitta, ii. 453n. Alto Solo and Organ obbligato.
187
1732. Seventh S. after Trinity.
Es wartet Alles auf dich (Psalm civ. 27).
?Christian Weiss, senr. Schweitzer (ii. 343) attributes the text to Picander.
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.
137
?1732. Twelfth S. after Trinity.
Lobe den Herren, den mächtigen König der Ehren.
Joachim Neander.
Choral Cantata. The five stanzas of the hymn are set in their original form. S. A. T. Soli.
95
?1732. Sixteenth S. after Trinity.
Christus, der ist mein Leben.
Author unknown.
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.
98
c. 1732. Twenty-first S. after Trinity.
Was Gott thut, das ist wohlgethan.
Author unknown.
Stanza i. of Samuel Rodigast’s hymn, “Was Gott thut, das ist wohlgethan”; rest of libretto original.
†60
1732. Twenty-fourth S. after Trinity.
O Ewigkeit, du Donnerwort.
Author unknown.
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.
102
c. 1733. Occasion not specified.
Nun danket alle Gott.
Martin Rinkart.
Choral Cantata. The three stanzas of the hymn are set in their original form. S. A. B. Soli.
*58
1733. Sunday after the Circumcision.
Ach Gott, wie manches Herzeleid.
?Bach.
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.
99
c. 1733. Fifteenth S. after Trinity.
Was Gott thut, das ist wohlgethan.
Samuel Rodigast (arranged).
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.
191
c. 1733. Christmas Day (“Am Weinachtsfeste”).
Gloria in excelsis Deo.
St. Luke ii. 14.
The “Gloria” of the B minor Mass.
117
c. 1733. Occasion not specified.
Sei Lob und Ehr’ dem hochsten Gut.
Johann Jakob Schütz.
Choral Cantata. The nine stanzas of the hymn are set in their original form. A. T. B. Soli.
97
1734. ?For a Wedding, or general use.
In allen meinen Thaten.
Paul Flemming. See Schweitzer, ii. 242n.
Choral Cantata. The nine stanzas of the hymn are set in their original form.
*54
1723-34. Occasion not specified.
Wideratehe doch der Sunde.
Author unknown.
Original throughout. Alto Solo.
*53
1723-34. ?For a Funeral.
Schlage doch, gewünschte Stunde.
?Salomo Franck.
A single eight-lined original stanza. Alto Solo.
(6) COMPOSED AT LEIPZIG: 1735-50
No.
Date.
Title.
Author of Libretto.
Composition of the Text.
43
1735. New Year’s Day.
Lobe den Herrn, meine Seele (Psalm cxlvi. 1).
?Christian Weiss, senr. Wustmann (note 19) suggests Bach.
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.
14
1735. Fourth S. after the Epiphany.
War’ Gott nicht mit uns diese Zeit (Psalm cxxiv.).
Luther (arranged).
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.
†85
1735. Second S. after Easter. (“Misericordias Domini”).
Ich bin ein guter Hirt (St. John x. 11).
Spitta (iii. 71) and Schweitzer (ii. 331n) attribute the text to Marianne von Ziegler. Wustmann (note 60) disagrees.
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.
103
?1735. Third S. after Easter (“Jubilate”).
Ihr werdet weinen und heulen (St. John xvi. 20).
Marianne von Ziegler (“Versuch in gebundener Schreibart,” Leipzig,1728). Emended by Bach.
St. John xvi. 20; Stanza ix. of Paul Gerhardt’s hymn, “Barmherzger Vater, hochster Gott”; rest of libretto original. A. T. Soli.
108
?1735. Fourth S. after Easter. (“Cantate”).
Es ist euch gut, dass ich hingehe (St. John xvi. 7).
Marianne von Ziegler (Ibid.). Emended by Bach.
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.
†87
?1735. Fifth S. after Easter (“Rogate”)
Bisher habt ihr nichts gebeten in meinem Namen (St. John xvi. 24).
Marianne von Ziegler (Ibid.). Emended by Bach.
St. John xvi. 24,33; Stanza ix. of Heinrich Müller’s hymn “Selig ist die Seele”; rest of libretto original. A. T. B. Soli.
43
1735. Ascension Day.
Gott fähret auf mit Jauchzen (Psalm xlvii. 5).
?Bach. Schweitzer (ii. 331n) wrongly attributes text to Marianne von Ziegler.
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.
11
c. 1735. Ascension Day.
Lobet Gott in seinen Reichen.
Author unknown.
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.
128
?1735. Ascension Day.
Auf Christi Himmelfahrt allein.
Marianne von Ziegler (Ibid.). Emended by Bach.
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.
†183
?1735. Sunday after the Ascension (“Exaudi”)
Sie werden euch in den Bann thun (St. John xvi. 2)
Marianne von Ziegler (Ibid.). Emended by Bach.
S. John xvi. 2; Stanza v. of Paul Gerhardt’s hymn “Zeuch ein zu deinen Thoren”; rest of libretto original.
74
?1735. Whit Sunday. An expansion of No. 59 (1716).
Wer mich liebst, der wird mein Wort halten (St. John xiv. 23).
Marianne von Ziegler (Ibid.). Emended by Bach.
St. John 23, 28; Romans viii. 1; Stanza ii. of Paul Gerhardt’s hymn, “Gott Vater, sende deinen Geist” rest of libretto original.
Delphi Masterworks of Johann Sebastian Bach (Illustrated) (Delphi Great Composers Book 3) Page 31