The late church cantatas by Johann Sebastian Bach are sacred cantatas he composed after his fourth cycle of 1728–29. Whether Bach still composed a full cantata cycle in the last 20 years of his life is not known, but the extant cantatas of this period written for occasions of the liturgical year are sometimes referred to as his fifth cycle, as, according to his obituary, he would have written five such cycles – inasmuch as such cantatas were not late additions to earlier cycles (e.g. chorale cantatas added to the chorale cantata cycle), or were adopted in his oratorios.
Other cantatas of this period were written for special occasions such as the 200th anniversary of the Augsburg Confession in June 1730, funerals and weddings. Some of the information and compositions of this period of writing and performing of cantatas are missing, leading to different ways of presenting and connecting what is known about them by Bach-scholars. For instance, in the 19th century Spitta considered almost all of Bach's chorale cantatas as late cantatas,[1] while later research connected the large majority of them to the composer's second year in Leipzig (1724–25).[2]
Several groups can be discerned in Bach's cantata production after the Picander cycle:
Bach's three extant oratorios also date from this period: the Christmas Oratorio (a set of six cantatas presented in the Christmas season of 1734–35), the Ascension Oratorio (1738?, with the dimensions of a single cantata) and the Easter Oratorio (an Easter cantata of 1725 with slight alterations reworked into an Oratorio 1738).
Several earlier church cantatas were restaged after the period of the Picander cycle, some of them in a new version.
Bach had several students who produced church cantatas during their Leipzig formation years:
| Date | Occasion | Cantata | BWV | Group | Additional information | ||||
|---|---|---|---|---|---|---|---|---|---|
| 1731-12-02 | data-sort-value="0131" | 1st Sunday of Advent | Schwingt freudig euch empor | data-sort-value="BWV 003605" | BWV 36, later version | data-sort-value="adaptations0131" | Early version 1726–29 | ||
| 1734-12-25 | data-sort-value="0234" | Christmas | Jauchzet, frohlocket! Auf, preiset die Tage | data-sort-value="BWV 024815" | BWV 248 Part I | data-sort-value="Oratorios0234" | Oratorios | Part I of Christmas Oratorio | |
| data-sort-value="1745-12-25" | 1742-12-25? | data-sort-value="0245" | Christmas | Gloria in excelsis Deo | data-sort-value="BWV 019115" | BWV 191 | data-sort-value="adaptations0245" | adaptations | Based on BWV 232I (1733) |
| data-sort-value="1746-12-25" | after 1740 | data-sort-value="0246" | Christmas | Gelobet seist du, Jesu Christ | data-sort-value="BWV 009107" | BWV 91, 2nd version | data-sort-value="Chorale cantata cycle0246" | Chor. cant. cycle | 5th and 6th mvt. altered |
| 1734-12-26 | data-sort-value="0334" | 2nd day of Christmas | Und es waren Hirten in derselben Gegend | data-sort-value="BWV 024825" | BWV 248 Part II | data-sort-value="Oratorios0334" | Oratorios | Part II of Christmas Oratorio | |
| 1734-12-27 | data-sort-value="0434" | 3rd day of Christmas | Herrscher des Himmels, erhöre das Lallen | data-sort-value="BWV 024835" | BWV 248 Part III | data-sort-value="Oratorios0434" | Oratorios | Part III of Christmas Oratorio | |
| — | data-sort-value="0500" | Sunday after Christmas | — | — | — | ||||
| 1735-01-01 | data-sort-value="0635" | New Year | Fallt mit Danken, fallt mit Loben | data-sort-value="BWV 024845" | BWV 248 Part IV | data-sort-value="Oratorios0635" | Oratorios | Part IV of Christmas Oratorio | |
| data-sort-value="1733-12-25" | 1733–34 | data-sort-value="0733" | Sunday after New Year | Ach Gott, wie manches Herzeleid | data-sort-value="BWV 005807" | BWV 58, 2nd version | data-sort-value="Chorale cantata cycle0733" | Chor. cant. cycle | After early version (1727) |
| 1735-01-02 | data-sort-value="0735" | Sunday after New Year | Ehre sei dir, Gott, gesungen | data-sort-value="BWV 024855" | BWV 248 Part V | data-sort-value="Oratorios0735" | Oratorios | Part V of Christmas Oratorio | |
| 1735-01-06 | data-sort-value="0835" | Epiphany | Herr, wenn die stolzen Feinde schnauben | data-sort-value="BWV 024865" | BWV 248 Part VI | data-sort-value="Oratorios0835" | Oratorios | Part VI of Christmas Oratorio | |
| data-sort-value="1750-01-07" | before 1761 | data-sort-value="0950" | 1st Sunday after Epiphany | Gedenke, Herr, wie es uns gehet | data-sort-value="BWV 021715" | BWV 217/Anh. II 23‑> | data-sort-value="BWV Anh. II0950" | BWV Anh. II | Probably spurious |
| — | data-sort-value="1000" | 2nd Sunday after Epiphany | — | — | — | ||||
| — | data-sort-value="1100" | 3rd Sunday after Epiphany | — | — | — | ||||
| 1735-01-30 | data-sort-value="1235" | 4th Sunday after Epiphany | Wär Gott nicht mit uns diese Zeit | data-sort-value="BWV 001405" | BWV 14 | data-sort-value="Chorale cantata cycle1230" | Chor. cant. cycle | ||
| 1731-02-02 | data-sort-value="1331" | Purification | Ich habe genug | data-sort-value="BWV 008205" | BWV 82, 2nd version | data-sort-value="3rd cycle1331" | 3rd cycle | Also 3rd and 4th versions | |
| data-sort-value="1738-02-02" | after 1727 | data-sort-value="1338" | Purification | Ich lasse dich nicht | data-sort-value="BWV 015705" | BWV 157 later version | data-sort-value="Funeral cantatas1338" | Funeral cantatas | Was a funeral cantata in 1727 |
| — | data-sort-value="1400" | 5th Sunday after Epiphany | — | — | — | ||||
| — | data-sort-value="1500" | 6th Sunday after Epiphany | — | — | — | ||||
| data-sort-value="1733-02-15" | 1733–34 | data-sort-value="1633" | Septuagesima | Ich bin vergnügt mit meinem Stande | — | data-sort-value="Picander cycle1633" | (Picander cycle) | (By C. P. E. Bach) | |
| — | data-sort-value="1700" | Sexagesima | — | — | — | ||||
| data-sort-value="1730-02-28" | 1728–31 | data-sort-value="1830" | Estomihi | Du wahrer Gott und Davids Sohn | data-sort-value="BWV 002305" | BWV 23, 3rd version | data-sort-value="Weimar cantatas1830" | Weimar cantatas | C minor, four movements |
| — | data-sort-value="1900" | Annunciation | — | — | — | ||||
| data-sort-value="1738-04-01" | 1738 | data-sort-value="2038" | Easter | Kommt, eilet und laufet | data-sort-value="BWV 024925" | BWV 249 | data-sort-value="Oratorios0835" | Oratorios | And earlier versions |
| — | data-sort-value="2100" | Easter Monday | — | — | — | ||||
| data-sort-value="1730-04-03" | 1730? | data-sort-value="2230" | Easter Tuesday | Der Friede sei mit dir | data-sort-value="BWV 015827" | BWV 158 | data-sort-value="22230" | 2nd cycle? | 2nd/3rd mvt. for Purification? |
| — | data-sort-value="2300" | Quasimodogeniti | — | — | — | ||||
| 1731-04-08 | data-sort-value="2431" | Misericordias Domini | Der Herr ist mein getreuer Hirt | data-sort-value="BWV 011205" | BWV 112 | data-sort-value="Chorale cantata cycle2431" | Chor. cant. cycle | ||
| — | data-sort-value="2500" | Jubilate | — | — | — | ||||
| — | data-sort-value="2600" | Cantate | — | — | — | ||||
| — | data-sort-value="2700" | Rogate | — | — | — | ||||
| 1738-05-15? | data-sort-value="2835" | Ascension | Lobet Gott in seinen Reichen | data-sort-value="BWV 001105" | BWV 11 | data-sort-value="Oratorios2835" | Oratorios | Ascension Oratorio | |
| — | data-sort-value="2900" | Exaudi | — | — | — | ||||
| 1731-05-13 | data-sort-value="3031" | Pentecost | Erschallet, ihr Lieder | data-sort-value="BWV 017208" | BWV 172, 3rd version | data-sort-value="Weimar cantatas3031" | Weimar cantatas | Weimar v. – 1st Leipzig v. | |
| data-sort-value="1740-05-14" | 1740? | data-sort-value="3040" | Pentecost | Raset und brauset | — | data-sort-value="Picander cycle3040" | (Picander cycle) | (By student Doles) | |
| — | data-sort-value="3100" | Pentecost Monday | — | — | — | ||||
| — | data-sort-value="3200" | Pentecost Tuesday | — | — | — | ||||
| data-sort-value="1730-06-04" | 1730-06-04? | data-sort-value="3330" | Trinity Sunday? | Nun danket alle Gott | data-sort-value="BWV 019227" | BWV 192 | data-sort-value="Chorale cantatas3330" | Chorale cantatas? | No clear cycle association |
| — | data-sort-value="3400" | 1st Sunday after Trinity | — | — | — | ||||
| — | data-sort-value="3500" | 2nd Sunday after Trinity | — | — | — | ||||
| 1738-06-24 | data-sort-value="3638" | St. John's Day | Freue dich, erlöste Schar | data-sort-value="BWV 003027" | BWV 30 | data-sort-value="adaptations3638" | Reworked from BWV 30a | ||
| data-sort-value="1745-06-24" | 1745–46 | data-sort-value="3645" | St. John's Day | Durch die herzliche Barmherzigkeit | — | data-sort-value="students3645" | (students) | (BNB I/G/2: by Goldberg) | |
| data-sort-value="1750-06-24" | before 1761 | data-sort-value="3650" | St. John's Day | Lobt ihn mit Herz und Munde | data-sort-value="BWV 022015" | BWV 220/Anh. II 23‑> | data-sort-value="BWV Anh. II3650" | BWV Anh. II | Unknown composer |
| — | data-sort-value="3700" | 3rd Sunday after Trinity | — | — | — | ||||
| data-sort-value="1733-07-02" | data-sort-value="3833" | Visitation | Magnificat in D Major | data-sort-value="BWV 024327" | BWV 243 | data-sort-value="Latin church music3833" | Latin church mus. | Also Christmas; 1723 in E | |
| data-sort-value="1750-07-02" | before 1761 | data-sort-value="3850" | Visitation | Meine Seele rühmt und preist | data-sort-value="BWV 018915" | BWV 189/Anh. II 23‑> | data-sort-value="BWV Anh. II3850" | BWV Anh. II | If by Hoffmann: before 1716 |
| 1732-07-06 | data-sort-value="3932" | 4th Sunday after Trinity | Ich ruf zu dir, Herr Jesu Christ | data-sort-value="BWV 017726" | BWV 177 | data-sort-value="Chorale cantata cycle3932" | Chor. cant. cycle | ||
| data-sort-value="1746-07-06" | 1746–47 | data-sort-value="3946" | 4th Sunday after Trinity | Barmherziges Herze | data-sort-value="BWV 018507" | BWV 185 last version | data-sort-value="Weimar cantatas3946" | Weimar cantatas | Three earlier versions |
| data-sort-value="1732-07-13" | 1732–33 | data-sort-value="4032" | 5th Sunday after Trinity | Wer nur den lieben Gott läßt walten | data-sort-value="BWV 009326" | BWV 93 later version | data-sort-value="Chorale cantata cycle4032" | Chor. cant. cycle | Two creation periods |
| data-sort-value="1734-07-13" | 1734 | data-sort-value="4034" | 5th Sunday after Trinity | Gott hat uns gesegnet mit allerlei | — | data-sort-value="Namenbuch cycle4034" | (Namenbuch cycle) | (By Stölzel) | |
| 1734-08-01 | data-sort-value="4132" | 6th Sunday after Trinity | Es ist das Heil uns kommen her | data-sort-value="BWV 000905" | BWV 9 | data-sort-value="Chorale cantata cycle4132" | Chor. cant. cycle | ||
| data-sort-value="1734-07-20" | 1734 | data-sort-value="4134" | 6th Sunday after Trinity | Dies wird sein Name sein | — | data-sort-value="Namenbuch cycle4134" | (Namenbuch cycle) | (By Stölzel) | |
| — | data-sort-value="4200" | 7th Sunday after Trinity | — | — | — | ||||
| — | data-sort-value="4300" | 8th Sunday after Trinity | — | — | — | ||||
| — | data-sort-value="4400" | 9th Sunday after Trinity | — | — | — | ||||
| — | data-sort-value="4500" | 10th Sunday after Trinity | — | — | — | ||||
| — | data-sort-value="4600" | 11th Sunday after Trinity | — | — | — | ||||
| — | data-sort-value="4700" | 12th Sunday after Trinity | — | — | — | ||||
| 1735-09-04 | data-sort-value="4835" | 13th Sunday after Trinity | O! wie seelig sind die Blicke | — | data-sort-value="Saitenspiel cycle4835" | (Saitenspiel cycle) | (By Stölzel) | ||
| 1735-09-11 | data-sort-value="4935" | 14th Sunday after Trinity | Schnöder Aussatz meiner Sünden | — | data-sort-value="Saitenspiel cycle4935" | (Saitenspiel cycle) | (By Stölzel) | ||
| 1730-09-17 | data-sort-value="5030" | 15th Sunday after Trinity | Jauchzet Gott in allen Landen | data-sort-value="BWV 005105" | BWV 51 | data-sort-value="In ogni tempore5030" | In ogni Tempo. | Late addition to 3rd cycle? | |
| 1735-09-18 | data-sort-value="5035" | 15th Sunday after Trinity | Sorgen sind die Steine | — | data-sort-value="Saitenspiel cycle5035" | (Saitenspiel cycle) | (By Stölzel) | ||
| 1735-09-25 | data-sort-value="5135" | 15th Sunday after Trinity | Mein JEsu deine Vater-Hand | — | data-sort-value="Saitenspiel cycle5135" | (Saitenspiel cycle) | (By Stölzel) | ||
| 1747-09-17 | data-sort-value="5147" | 16th Sunday after Trinity | Liebster Gott, wenn werd ich sterben | data-sort-value="BWV 000807" | BWV 8, 2nd version | data-sort-value="Chorale cantata cycle5147" | Chor. cant. cycle | After 1st version (1724) | |
| — | data-sort-value="5200" | 17th Sunday after Trinity | — | — | — | ||||
| data-sort-value="1733-09-29" | 1732–35 | data-sort-value="5333" | Michaelmas | Herr Gott, dich loben alle wir | data-sort-value="BWV 013007" | BWV 130, 2nd version | data-sort-value="Chorale cantata cycle5333" | Chor. cant. cycle | After 1st version (1724) |
| data-sort-value="1734-09-29" | 1734-09-29? | data-sort-value="5334" | Michaelmas | [Textless cantata], BWV 248a | data-sort-value="BWV 024800" | BWV 248 VI a | data-sort-value="adaptations5334" | adaptations | After BWV 1160 (1731) |
| data-sort-value="1745-09-29" | before 1751? | data-sort-value="5345" | Michaelmas? | Nun ist das Heil und die Kraft | data-sort-value="BWV 005027" | BWV 50 | — | As extant not by Bach? | |
| 1734-10-24 | data-sort-value="5434" | 18th Sunday after Trinity | Herr Christ, der einge Gottessohn | data-sort-value="BWV 009607" | BWV 96 later version | data-sort-value="Chorale cantata cycle5434" | Chor. cant. cycle | After 1724 v.; also 1746–47 | |
| data-sort-value="1735-10-31" | 1735? | data-sort-value="5535" | Reformation Day | Ein feste Burg ist unser Gott | data-sort-value="BWV 008027" | BWV 80, 2nd Leipz. v. | data-sort-value="Chorale cantata cycle5535" | Chor. cant. cycle | After BWV 80b and a |
| — | data-sort-value="5600" | 19th Sunday after Trinity | — | — | — | ||||
| — | data-sort-value="5700" | 20th Sunday after Trinity | — | — | — | ||||
| — | data-sort-value="5800" | 21st Sunday after Trinity | — | — | — | ||||
| — | data-sort-value="5900" | 22nd Sunday after Trinity | — | — | — | ||||
| data-sort-value="1745-11-15" | 1744–47 | data-sort-value="6045" | 23rd Sunday after Trinity | Wohl dem, der sich auf seinen Gott | data-sort-value="BWV 013907" | BWV 139 later version | data-sort-value="Chorale cantata cycle6045" | Chor. cant. cycle | After 1724 version |
| — | data-sort-value="6100" | 24th Sunday after Trinity | — | — | — | ||||
| — | data-sort-value="6200" | 25th Sunday after Trinity | — | — | — | ||||
| — | data-sort-value="6300" | 26th Sunday after Trinity | — | — | — | ||||
| 1731-11-25 | data-sort-value="6431" | 27th Sunday after Trinity | Wachet auf, ruft uns die Stimme | data-sort-value="BWV 014005" | BWV 140 | data-sort-value="Chorale cantata cycle6431" | Chor. cant. cycle |
In Bach's Leipzig there was no concerted church music in the period between the first Sunday of Advent and Christmas (tempus clausum). The final version of Schwingt freudig euch empor, BWV 36 was first presented on the first Sunday of Advent, with an earlier version of the cantata dated between 1725 and 1730.[8]
See also: Christmas Oratorio. From Christmas 1734 to Epiphany 1735 Bach presented six cantatas, together known as the Christmas Oratorio (Weihnachts-Oratorium):
The D Major version of Bach's Magnificat may have been performed on Christmas from 1733 onwards. Other Christmas compositions with text in Latin are the Sanctus in D major, BWV 238 (repeat performance in 1735 or later) and the cantata Gloria in excelsis Deo, BWV 191 (probably first performed in 1745), a composition based on the Kyrie–Gloria mass of 1733 that would be expanded into his Mass in B Minor. The period after the fourth cantata cycle also saw repeat performances of his earlier Christmas cantatas Unser Mund sei voll Lachens, BWV 110, and Gelobet seist du, Jesu Christ, BWV 91, the last one in a new version produced after 1740.[9] Another Christmas cantata, Uns ist ein Kind geboren, BWV 142, was probably not composed by Bach and likely originated before Bach's time in Leipzig.[10]
A new version of Ach Gott, wie manches Herzeleid, BWV 58, was performed on the Sunday after New Year or .[11] This cantata was however added to chorale cantata cycle,[12] even while not completely conforming to the chorale cantata format and in its first version performed on, a year after the bulk of that cycle had been composed.[13]
Gedenke, Herr, wie es uns gehet, BWV 217, a cantata for the first Sunday after Epiphany was probably not composed by Bach. Johann Christoph Altnickol has been named as its possible composer.
Herr, wie du willt, so schicks mit mir, BWV 73, the cantata for the third Sunday after Epiphany of the first cycle, was restaged at least two times between 1731 and 1750.
Wär Gott nicht mit uns diese Zeit, BWV 14, first performed on the fourth Sunday after Epiphany, latest of Bach's extant chorale cantatas, was added to the chorale cantata cycle.
There are no extant cantatas by Johann Sebastian Bach for the fifth and sixth Sunday after Epiphany.
The first version of Ich habe genug, BWV 82, had been performed on the Feast of Purification .[14] This version for soprano, flute, strings and continuo in E minor is associated with Bach's third cantata cycle, or alternatively the period "between the third and the fourth cycles".[15] After 1729 Bach produced three further versions of this cantata: a version in C Minor for bass, oboe, strings and continuo, for performance in 1731, a third version for Bass or mezzo and a fourth version with an additional oboe da caccia.[16] Komm, du süße Todesstunde, BWV 161 is a Weimar cantata for the 16th Sunday after Trinity.[17] In the mid-1730s Bach had its score copied, adding "item Festo Purific Mariae" (also for the Feast of Purification) to the header of the manuscript.[18] Also Mit Fried und Freud ich fahr dahin, BWV 125, the chorale cantata from 1725, was probably restaged after 1735.[19] Ich lasse dich nicht, du segnest mich denn, BWV 157 was a funeral cantata in 1727: later it was transformed into a cantata for Purification, a feast that always fell between Epiphany and Lent.[20]
For Septuagesima (third Sunday before Lent) 1727 Bach had composed Ich bin vergnügt mit meinem Glücke, BWV 84, a cantata on a libretto that two years later appeared in a very different form in a libretto cycle published by Picander. The 1727 cantata is however rather associated with Bach's third cantata cycle than with his fourth cantata cycle, which were settings of the librettos Picander had published for church services in 1728–29.[21] However, a few years later Carl Philipp Emanuel Bach, still living with his father in Leipzig, set the three first movements of the 1729 version of Picander's libretto for Septuagesima, Ich bin vergnügt mit meinem Stande.
Bach restaged his first cycle Sexagesima cantata Leichtgesinnte Flattergeister, BWV 181, around 1743–46.[22]
In the period from 1728 to 1731 Bach produced the final C minor version of his Weimar Estomihi cantata Du wahrer Gott und Davids Sohn, BWV 23, in four movements.[23]
In Lent only two occasions allowed for concerted music:
Der Himmel lacht! Die Erde jubilieret, BWV 31 was an Easter cantata Bach had composed in Weimar. He had already restaged it during his first year in Leipzig, and did so again on Easter . Apart from that he expanded his Easter cantata from 1725, Kommt, eilet und laufet, BWV 249 into an oratorio (several versions), and restaged it multiple times in the last 20 years of his office as Thomaskantor.
For Easter Monday, Bleib bei uns, denn es will Abend werden, BWV 6, and Erfreut euch, ihr Herzen, BWV 66, belonging to the second and the first cantata cycle respectively, were both restaged more than once after 1729.
Der Friede sei mit dir, BWV 158 is a possibly incomplete Easter Tuesday cantata. Its second and third movement (from a total of only four movements) seem to be derived from an earlier Purification cantata.[24] It may have been performed as Easter Tuesday cantata of the second cycle (no other cantata for that occasion in 1725 extant) and/or shortly after the 4th cycle. Another Easter Tuesday cantata, Ein Herz, das seinen Jesum lebend weiß, BWV 134, belonging to the first cycle, was restaged, and probably also .
Am Abend aber desselbigen Sabbats, BWV 42, a cantata from the second cycle for the first Sunday after Easter (Quasimodogeniti), was restaged .
Der Herr ist mein getreuer Hirt, BWV 112, premiered on the second Sunday after Easter (Misericordias Domini), is a late addition to the chorale cantata cycle.
Ihr werdet weinen und heulen, BWV 103, a cantata for the third Sunday after Easter (Jubilate) on a libretto, was probably restaged .[25] For the next two Sundays (Cantate and Rogate) it is not known which cantatas Bach may have performed in the last 20 years of his life.
The Ascension Oratorio, Lobet Gott in seinen Reichen, BWV 11, was first performed on .[26] For the Sunday after Ascension (Exaudi) it is not known which cantatas Bach may have performed after the second cycle (1725).
The third version of Erschallet, ihr Lieder, erklinget, ihr Saiten! BWV 172, a Weimar cantata, was first performed on Pentecost (second Leipzig version). The libretto for the Pentecost cantata of the 1728–29 Picander cycle, Raset und brauset ihr hefftigen Winde was set by Johann Friedrich Doles, then a student of Bach, in 1740. The cantata was possibly performed in Leipzig at the time.
Erhöhtes Fleisch und Blut, BWV 173, a cantata for Pentecost Monday composed between the third and the fourth cycles, and Erwünschtes Freudenlicht, BWV 184, a first cycle cantata for Pentecost Tuesday, were restaged 14 and respectively.
The incomplete cantata Nun danket alle Gott, BWV 192, possibly a Trinity Sunday chorale cantata premiered, was probably not composed for Leipzig.[27] Whether it can be associated with any cycle is unclear. An earlier Trinity Sunday cantata, Höchsterwünschtes Freudenfest, BWV 192, had already seen three different versions before its second version (1724) was given a repeat performance on .[28]
It is not known which cantatas Bach may have performed on the first, second and third Sundays after Trinity in the last 20 years of his life.
Freue dich, erlöste Schar, BWV 30 was first performed on the Feast of the Nativity of St. John the Baptist, . It was a parody of the secular cantata BWV 30a, premiered in 1737. Picander probably wrote the librettos, as well for the original composition as for the parody.[29] Durch die herzliche Barmherzigkeit is a cantata for St. John's Day composed by Johann Gottlieb Goldberg for which Bach helped copy out performance parts around 1745–46.[6] [30] Lobt ihn mit Herz und Munde, BWV 220 is a St. John's Day cantata by an unknown composer.[31] Its oldest manuscript went lost but existed before 1761.[32]
Meine Seele rühmt und preist, BWV 189 is a cantata for Visitation (2 July), using a German paraphrase of the Magnificat as text. It is dated to before 1761, based on what remains from its 18th-century sources. Likely it was however composed by Melchior Hoffmann, in 1715 at the latest.[33] Around 1733 Bach produced the D Major version of his Magnificat, which he possibly performed on Visitation .[34]
Ich ruf zu dir, Herr Jesu Christ, BWV 177, a per omnes versus chorale cantata first performed on the fourth Sunday after Trinity, is a late addition to the chorale cantata cycle.[35] Barmherziges Herze der ewigen Liebe, BWV 185 is a Weimar cantata for the fourth Sunday after Trinity existing in four versions, the last of which was produced in Leipzig around 1746–47.[36]
Wer nur den lieben Gott läßt walten, BWV 93 is a chorale cantata for the fifth Sunday after Trinity, first presented in Bach's second year in Leipzig. Around 1732–33 he restaged it in a modified version.[37]
Es ist das Heil uns kommen her, BWV 9 is a chorale cantata for the sixth Sunday after Trinity, first presented on and added to the chorale cantata cycle.[38]
It is not known which cantatas Bach may have performed after 1729 on the seventh and eighth Sundays after Trinity.
Was frag ich nach der Welt, BWV 94, a chorale cantata for the ninth Sunday after Trinity, first performed in Bach's second year in Leipzig, was probably restaged around 1732–35.[39] Tue Rechnung! Donnerwort, BWV 168, a 1725 cantata for the same occasion, was possibly restaged after 1745.[40]
For the tenth to thirteenth Sundays after Trinity it is not known which cantatas may have been performed in Leipzig after 1729.
The chorale cantata for the 14th Sunday after Trinity Jesu, der du meine Seele, BWV 78, first performed in 1724, was restaged after 1735.[41]
Jauchzet Gott in allen Landen, BWV 51, first performed on the 15th Sunday after Trinity, was designated for that Sunday or for any occasion.[42]
Komm, du süße Todesstunde, BWV 161, a cantata for the 16th Sunday after Trinity or Purification, also exists in a later (Leipzig?) version, which was however probably not produced by the composer.[43] For the 16th Sunday after trinity Bach produced a second version in D major of the chorale cantata Liebster Gott, wenn werd ich sterben? BWV 8. Its first version, in E major, had been premiered in 1724.[44]
No performances of a cantata for the 17th Sunday after Trinity have been identified in Bach's last 20 years in Leipzig.
The chorale cantata Herr Gott, dich loben alle wir, BWV 130, for Michaelmas, premiered in 1724, was restaged in a modified version around 1732–35.[45] (also indicated as BWV 248a) is a fragment of a nameless German: Michaeliskantate (Michaelmas cantata), likely first performed in 1734, shortly before its music was almost entirely adopted in the last part of the Christmas Oratorio [46] [47] Michaelmas has also been suggested for (the cantata fragment?) Nun ist das Heil und die Kraft, BWV 50, which has however an unclear origin.[48]
Herr Christ, der einge Gottessohn, BWV 96, a chorale cantata for the 18th Sunday after Trinity, first performed in 1724, was given a repeat performance with a modified orchestration on . The cantata was further restaged around 1746–47.[49]
Bach's final version of the Reformation Day cantata Ein feste Burg ist unser Gott, BWV 80 may have originated around 1735.[50] An earlier Leipzig version of the cantata, BWV 80b, was written 1727–31.[51]
For the 19th to 22nd Sundays after Trinity no performed cantatas have been identified in Bach's last 20 years in Leipzig.
A modified version of the 1724 chorale cantata Wohl dem, der sich auf seinen Gott, BWV 139 for the 23rd Sunday after Trinity was presented around 1744–47.[52]
No further cantatas performed on Sundays after Trinity are known for the period 1730–49, until the 27th and last possible Sunday after Trinity: on that Sunday in 1731 Bach premiered Wachet auf, ruft uns die Stimme, BWV 140, a late addition to the chorale cantata cycle.[53]
The election or inauguration of a new town council was celebrated with a service. Normally this was an annual event. The cantata written for such celebrations were indicated with the term "Ratswechsel" (changing of the council) or "Ratswahl" (election of the council). In Leipzig the service was held at the Nikolaikirche on the Monday following Bartholomew (Bartholomäus), 24 August.
Bach's Leipzig Ratswahl cantatas include:
25 June 1730 was 200 years after the Augsburg Confession. In Leipzig the occasion was remembered by a three-day festival. Picander wrote three cantata librettos (later published in Ernst-Schertzhaffte und Satyrische Gedichte, Vol. III, 1732), one for each day of the celebration. Johann Sebastian Bach set these librettos. The music of these settings is however largely lost:[57] [58]
Leipzig church cantatas for weddings include:
Apart from church cantatas for weddings Bach also composed secular wedding cantatas such as BWV 202 and 210.
Funeral music of Bach's Leipzig period includes:
Apart from church cantatas for funerals, Bach also composed secular mourning music (Trauer-Ode, BWV 198,) and several funeral motets (e.g. O Jesu Christ, meins Lebens Licht, BWV 118, 1736–37).
Most of the cantatas of Bach's last 20 years in Leipzig probably went to Halle with Wilhelm Friedemann Bach, where many of them became lost. Extant parts of Bach's late cantata production include:
Whether there ever was a consistent fifth cycle of cantatas composed by Bach in the last twenty years of his life remains a matter of speculation: evidence of such a cycle is remote and circumstantial, but it is a returning topic in scholarly literature.
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fr:Ignace Bossuyt
. Bull. Stratton. 2004. Johann Sebastian Bach, Christmas Oratorio (BWV 248). Foreword by Philippe Herreweghe. Leuven. Leuven University Press. 9789058674210. 35.