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Index to References to Bach Cantatas & Other Vocal Works
Bach Compendium
Work Group A: Cantatas for the Sundays and Feast Days of the Liturgical Year |
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Group Description |
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Work Group A consists of cantatas for Sundays and feast days of the liturgical year, from the 1st Sunday in Advent through the 27th Sunday after Trinity, for feasts of the Blessed Virgin Mary, Saint Michael, and Saint John, and for the Festival of the Reformation. Within each individual Sunday or feast day, the cantatas are arranged chronologically, whenever possible. Cantatas "in ogni tempo", or without any designation at all, are presented at the end of this work group (cantatas for occasions outside the liturgical year -jo Work Group B)
According to the available evidence concerning his estate (Obituary, Dok III, p. 86; Bach Reader, p.221), Bach is reported to have left behind "five cycles of sacred works, for all Sundays and feast days." These have not survived in their entirety, however. Bach had begun to compose cycles of cantatas in Weimar in early 1714 (→ A 51, A 53) in conjunction with his appointment as concert master on March 2, 1714 ("for which he shall present new works each month," Dok II, p. 53). But the bulk of the repertoire was composed during his years in Leipzig, beginning with May 30 (1st Sunday after Trinity) 1723 (Dok II, p. 104f.).
Most of the surviving cantatas may be assigned to three annual cycles. The first, which is designed in part as a double cycle, begins with the 1st Sunday after Trinity in 1723 (→ A 94) and continues until Trinity Sunday of 1724 (→ A 91a). Of the 56 cantatas that may be assigned to this cycle, approximately one-fourth were written during the Weimar period, while severa) others represent parodies of secular cantatas composed while at Cöthen. The second cycle, which was conceived as a unified cycle of chorale cantatas, was begun on the 1st Sunday after Trinity in 1724 (→ A 95) but continued only through the Feast of the Annunciation in 1725 (→ A 173); later additions to this cycle can be documented from as late as 1735 (→ A 40). Most of the 52 cantatas attributable to this cycle are original compositions (important exceptions: → A 54a/b, A 183a/b). Work on the third cycle, begun at Easter of 1725 (→ D 8a), appears to have been drawn out over a rather lengthy period of time, to at least early 1727 (→ A 169a). Approximately 46 cantatas may be attributed to this cycle, including the later additions made in the 1730's. There was a marked decrease in the composition of cantatas between February 2 and September 15, 1726; during this time, Bach performed a total of 18 such works by his cousin from Meiningen, Johann Ludwig Bach. The fourth cycle, composed largely to texts by Christian Friedrich Henrici (Picander), is represented by only nine works, some of which have survived only as fragments. These may be ascribed to the period between September 29, 1728 (→ A 181) and June 6, 1729 (→ A 87). Although there is no evidence to suggest what the nature of an independent fifth cycle might have been, one cannot exclude the possibility that Bach composed a later cycle of cantatas in the 1730's and 1740's that, with the exception of a few scattered traces (→ A 192), may well have been completely lost with Wilhelm Friedemann Bach's portion of his father's estate.
After 1729, only a few isolated new compositions or parodies on secular works are verifiable. Some of these works were intended to fill the gaps remaining in previous cycles. At the same time, there are indications of relatively numerous repeat performances, both of individual cantatas and of groups of cantatas from the repertoire assembled after 1723. Evidence of lost cantatas is available primarily from collections of chorales, both manuscript and published, from 1735 onward (→ Z 1; Work Group F).
The incomplete transmission of the cantata cycles is due, above all else, to the dispersal of Bach's estate in 1750. According to Forkel (p. 61), the "cycles were divided among the eldest sons after the composer's death, and in such a way that Wilh. Friedemann received the largest share, because he could make the most use of them in the position he then held at Halle. His subsequent circumstances forced him to sell, little by little, that which he had inherited." The inventory of Carl Philipp Emanuel Bach's estate, printed in 1790 (Dok III, No. 957), and other documents (see Dok III, No. 831; NBA 1115, Krit. Bericht, p. 205f.) show that Bach's second-oldest son inherited the first cycle in alternating scores and parts according to the sequence of the liturgical year, and the third cycle almost exclusively in scores, with duplicate parts (usually V 1, V 2, Bc). The second cycle (the chorale cantatas) was divided between Anna Magdalena Bach, who received the parts, which she in turn passed on to the St. Thomas School in Leipzig later in 1750 (Dok II, No. 621), and W.F. Bach, who received the scores and duplicate parts. Beyond this, one can only speculate about any further inheritance by the oldest son, who received "the largest share," and the consideration given to Johann Christoph Friedrich Bach and Johann Christian Bach. The two youngest sons probably inherited, respectively, the material for the first cycle (→ A 97, Sources: with the notation "Friederich" = J.C.F. Bach) and the third cycle (→ A 96, Sources: with the notation "Carl u. Christel" = J.C. Bach), in so far as these materials were not a part of C.P.E. Bach's inheritance.
In contrast to later terminological use, Bach limited the designation "cantata" to the solo cantata (→ A 120, A 134). For other types of cantatas, he used terms such as "concerto" or "dialogus", or the works bore no corresponding designation of any kind. In his letters, Bach speaks of "cburch pieces" ("Kirchen Stücke") (Dok I, No. 22; Bach Reader, p.120-124) or "musical church pieces" ("musicalische Kirchen Stücke") (Dok I, No. 34; Bach Reader, p. 140f.). These designations pertain to any compasition for vocalist(s) and obbligato instruments on a biblical text, a chorale text, or a freely composed verse.
Traditionally, the sacred cantata's place in the liturgy came between the Gospel and the Creed (in the form of a chorale) immediately preceding the sermon. In Leipzig, a cantata (or the first part of a cantata) was often performed before the sermon, with a second cantata (or the second part of a two-part cantata) performed after the sermon, i. e., "sub communione" (on the order of the Leipzig liturgy, see Dok I, No. 178 and 181). Similar liturgical practices were probably also observed in Weimar.
In Leipzig, it was customary for the most important musical performances - the "Hauptmusik" - to alternate between the St. Nicholas and the St. Thomas Churches from Sunday to Sunday. On high feast days there were performances in both churches: early in the morning in the St. Nicholas Church where the first choir of the Thomanerchor would perform under Bach's direction; and later in St. Thomas, where the second choir would be conducted by one of the prefects. At vespers, the first choir sang in the St. Thomas Church, the second in St. Nicholas. There were also musical duties in connection with the "old serice" of the University Church during the first days of the three high feasts. These obmay have extended to the St. John Church as well, but it is difficult to say very much at all about any of this repertoire with any degree of certainty (perhaps primarily music by other composers).
As early as Johann Kuhnau's era, it was customary to provide librettos that would enable churchgoers to read along during performances, and Bach continued in this tradition. Surviving exemplars (→ Abbreviations: 3. Librettos) show that these booklets were routinely printed five to eight weeks in advance. This, in turn, would have required a corresponding degree of planning for the musical performances.
There are only a very few copies of cantatas that might conceivably have been performed outside of Bach's immediate circle before 1750; such materials are nevertheless found as far away as southern Germany. The more abundant materials for the transmission of Bach's cantatas after 1750, particularly the performing parts, center around W.F. Bach in Halle and C.P.E. Bach in Hamburg, as well as J.G. Nacke (and Christian Friedrich Penzel) in Oelsnitz/Vogtland. Several of the parts for the chorale cantata cycle, which have been in the possession of the St. Thomas School in Leipzig since 1750, show evidence of having been used for performances during subsequent years when Johann Gottlob Harrer and Johann Friedrich Doles were cantors there. A revival of this tradition began in 1804 under the cantor August Eberhard Müller; the first edition of a Bach cantata from 1821 (→ A 183b) may be cited in this connection. A new beginning in the cultivation of Bach's cantatas was initiated with the Berlin Singakademie's continuing performances, begun under C.F. Zelter in 1812. These performances may be linked to a number of first publications, edited by A. B. Marx in 1830 (→ A 118, A 119, A 69, A 65, A 114, and B 18), and by J.P. Schmidt in 1843-1844 (→ A 41, A 53, A 101). |
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Synopsis - List by Group and BC Number - Group A |
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BC |
BWV |
BGA |
NBA |
Year |
Title / Comments |
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1st Sunday in Advent |
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A 1 |
61 |
XVI |
I/1 |
1714 |
Nun komm, der Heiden Heiland (I) |
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A 2 |
62 |
XVI |
I/1 |
1724 |
Nun komm, der Heiden Heiland (II) |
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A 3 |
36 |
VII |
I/1 |
1726-1730 |
Schwingt freudig euch empor (earlier version) → G 35 |
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A 3 |
36 |
VII |
I/1 |
1731 |
Schwingt freudig euch empor (later version) |
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2nd Sunday in Advent |
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[A 4] |
70a |
- |
- |
1716 |
Wachet! betet! betet! wachet! (Weimar version) → A 165 |
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3rd Sunday in Advent |
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A 5 |
186a |
- |
I/1 |
1717 |
Ärgre dich, o Seele, nicht (Weimar version) → A 108 |
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4th Sunday in Advent |
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A 6 |
132 |
XXVIII |
I/1 |
1715 |
Bereitet die Wege, bereitet die Bahn |
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A 7 |
147a |
- |
I/1 |
1716 |
Herz und Mund und Tat und Leben (Weimar version, incomplete) → A 174 |
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Christmas Day |
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A 8 |
63 |
XVI |
I/2 |
1714-1715 |
Christen, ätzet diesen Tag |
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A 9a |
[ 91] |
XXII |
I/2 |
1724 |
Gelobet seist du, Jesu Christ (earlier version) |
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A 9b |
91 |
XXII |
I/2 |
1746-1747 |
Gelobet seist du, Jesu Christ (later version) |
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A 10 |
110 |
XXIII |
I/2 |
1725 |
Unser Mund sei voll Lachens |
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A 11 |
197A |
XLI |
I/2 |
1728 |
Ehre sei Gott in der Höhe (incomplete) → B16 |
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E 16 |
191 |
XLI |
I/2 |
1740 |
Gloria in excelsis Deo → E 2 |
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D 7I |
248/I |
V/2 |
II/6 |
1734-1735 |
Weihnachts-Oratorium , Part I → G 18, G 19 |
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2nd Day of Christmas |
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A 12 |
40 |
VII |
I/3.1 |
1723 |
Dazu ist erschienen der Sohn Gottes |
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A 13 |
121 |
XXVI |
I/3.1 |
1724 |
Christum wir sollen loben schon |
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A 14 |
57 |
XII/2 |
I/3.1 |
1725 |
Selig ist der Mann |
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D 7II |
248/II |
V/2 |
II/6 |
1734-1735 |
Weihnachts-Oratorium, Part II → G 18, G 19 |
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3rd Day of Christmas |
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A 15 |
64 |
XVI |
I/3.1 |
1723 |
Sehet, welch eine Liebe hat uns der Vater erzeiget |
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A 16 |
133 |
XXVIII |
I/3.1 |
1724 |
Ich freue mich in dir |
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A 17 |
151 |
XXXII |
I/3.1 |
1725 |
Süßer Trost, mein Jesus kömmt |
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D 7III |
248/III |
V/2 |
II/6 |
1734-1735 |
Weihnachts-Oratorium, Part III → G 18, G 19 |
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Sunday after Christmas |
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A 18 |
152 |
XXXII |
I/3.2 |
1714 |
Tritt auf die Glaubensbahn |
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A 19 |
122 |
XXVI |
I/3.2 |
1724 |
Das neugeborene Kindelein |
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A 20 |
28 |
V/1 |
I/3.2 |
1725 |
Gottlob! nun geht das Jahr zu Ende |
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New Year's Day |
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A 21 |
190 |
XXXVII |
I/4 |
1724 |
Singet dem Herrn ein neues Lied (incomplete) → B 27 |
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A 22 |
41 |
X |
I/4 |
1725 |
Jesu, nun sei gepreiset |
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A 23 |
16 |
II |
I/4 |
1726 |
Herr Gott, dich loben wir |
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A 24 |
171 |
XXXV |
I/4 |
1729 |
Gott, wie dein Name, so ist auch dein Ruhm |
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D 7IV |
248/IV |
V/2 |
II/6 |
1734-1735 |
Weihnachts-Oratorium, Part IV → G 18 |
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Sunday after New Year's Day |
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A 25 |
153 |
XXXII |
I/4 |
1724 |
Schau, lieber Gott, wie meine Feind |
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A 26a |
[ 58] |
XII/2 |
I/4 |
1727 |
Ach Gott, wie manches Herzeleid (earlier version, incomplete) |
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A 26b |
58 |
XII/2 |
I/4 |
1733-1734 |
Ach Gott, wie manches Herzeleid (later version) |
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D 7V |
248/V |
V/2 |
II/6 |
1734-1735 |
Weihnachts-Oratorium, Part V → G 21 |
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Epiphany |
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A 27 |
65 |
XVI |
I/5 |
1724 |
Sie werden aus Saba alle kommen |
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A 28 |
123 |
XXVI |
I/5 |
1725 |
Liebster Immanuel, Herzog der Frommen |
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D 7VI |
248/VI |
V/2 |
II/6 |
1734-1735 |
Weihnachts-Oratorium, Part VI → A 190, G 30 |
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1st Sunday after Epiphany |
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A 29 |
154 |
XXXII |
I/5 |
1724 |
Mein liebster Jesus ist verloren |
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A 30 |
124 |
XXVI |
I/5 |
1725 |
Meinen Jesum laß ich nicht |
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A 31 |
32 |
VII |
I/5 |
1726 |
Liebster Jesu, mein Verlangen |
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2nd Sunday after Epiphany |
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A 32 |
155 |
XXXII |
I/5 |
1716 |
Mein Gott, wie lang, ach lange? |
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A 33 |
3 |
I |
I/5 |
1725 |
Ach Gott, wie manches Herzeleid (I) |
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A 34 |
13 |
II |
I/5 |
1726 |
Meine Seufzer, meine Tränen |
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3rd Sunday after Epiphany |
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A 35 |
73 |
XVIII |
I/6 |
1724 |
Herr, wie du willt, so schicks mit mir |
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A 36 |
111 |
XXIV |
I/6 |
1725 |
Was mein Gott will, das g'scheh allzeit |
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A 37 |
72 |
XVIII |
I/6 |
1726 |
Alles nur nach Gottes Willen |
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A 38 |
156 |
XXXII |
I/6 |
1729 |
Ich steh mit einem Fuß im Grabe |
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4th Sunday after Epiphany |
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A 39 |
81 |
XX/1 |
I/6 |
1724 |
Jesus schläft, was soll ich hoffen? |
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A 40 |
14 |
II |
I/6 |
1735 |
Wär Gott nicht mit uns diese Zeit |
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Septuagesimae |
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A 41 |
144 |
XXX |
I/7 |
1724 |
Nimm, was dein ist, und gehe hin |
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A 42 |
92 |
XXII |
I/7 |
1725 |
Ich hab in Gottes Herz und Sinn |
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A 43 |
84 |
XX/1 |
I/7 |
1727 |
Ich bin vergnügt mit meinem Glücke |
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Sexagesimae |
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A 44a |
[ 18] |
II |
I/7 |
1713 |
Gleichwie der Regen und Schnee vom Himmel fällt (Weimar version) |
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A 44b |
18 |
II |
I/7 |
1724 |
Gleichwie der Regen und Schnee vom Himmel fällt (Leipzig Version) |
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A 45 |
181 |
XXXVII |
I/7 |
1724 |
Leichtgessinte Flattergeister (incomplete) |
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A 46 |
126 |
XXVI |
I/7 |
1725 |
Erhalt uns Herr, bei deinem Wort |
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Estomihi - Q |
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A 47a |
[ 23] |
V/1 |
I/8.1 |
1723 |
Du wahrer Gott und Davids Sohn (1st version) |
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A 47b |
[ 23] |
V/1 |
I/8.1 |
1723 |
Du wahrer Gott und Davids Sohn (intermediate version) |
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A 47c |
23 |
V/1 |
I/8.1 |
1724 |
Du wahrer Gott und Davids Sohn (final version) |
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A 48 |
22 |
V/1 |
I/8.1 |
1723 |
Jesus nahm zu sich die Zwölfe |
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A 49 |
127 |
XXVI |
I/8.1 |
1725 |
Herr Jesu Christ, wahr' Mensch und Gott |
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A 50 |
159 |
XXXII |
I/8.1 |
1729 |
Sehet! wir gehn hinauf gen Jerusalem |
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Oculi |
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A 51 |
54 |
XII/2 |
I/18 |
1714 |
Widerstehe doch der Sünde |
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A 52 |
80a |
- |
- |
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Alles, was von Gott geboren → A 183a |
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Palm Sunday |
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A 53 |
182 |
XXXVII |
I/8.2 |
1714 |
Himmelskönig, sei willkommen → A 172 |
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Good Friday |
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D 1-6 |
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Passion Music |
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Easter Sunday |
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A 54a |
[ 4] |
I |
I/9 |
1707-1708 |
Christ lag in Todesbanden (earlier version) |
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A 54b |
4 |
I |
I/9 |
1724/1725 |
Christ lag in Todesbanden (Later version) |
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A 55a |
31 |
VII |
I/9 |
1715 |
Der Himmel lacht! Die Erde jubilieret (Weimar version) |
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A 55b |
31 |
VII |
I/9 |
1724/1731 |
Der Himmel lacht! Die Erde jubilieret (Leipzig version) |
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D 8 |
249 |
XXI/3 |
II/7 |
1725 |
Oster-Oratorium - Easter Oratorio |
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Easter Monday |
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A 56 |
66 |
XVI |
I/10 |
1724 |
Erfreut euch, ihr Herzen → G 4 |
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A 57 |
6 |
I |
I/10 |
1725 |
Bleib bei uns, denn es will Abend werden |
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A 58 |
deest |
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Ich bin ein Pilgrim auf der Welt (Fragment, details unknown) |
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Easter Tuesday |
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A 59a |
[ 134] |
XXVIII |
I/10 |
1724 |
Ein Herz, das seinen Jesum lebend weiß (earelier version) → G 5 |
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A 59b |
134 |
XXVIII |
I/10 |
1724 |
Ein Herz, das seinen Jesum lebend weiß (later version) |
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A 60 |
145 |
XXX |
I/10 |
1729 |
Ich lebe, mein Herze, zu deinem Ergötzen |
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A 61 |
158 |
XXXII |
I/10 |
1728-31 |
Der Friede sei mit dir → A 171 |
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Quasimodogeniti - 1st Sunday after Easter |
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A 62 |
67 |
XVI |
I/11.1 |
1724 |
Halt im Gedächtnis Jesum Christ |
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A 63 |
42 |
X |
I/11.1 |
1725 |
Am Abend aber desselbigen Sabbats |
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A 64 |
deest |
- |
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Cantata sketch (or draft), text & tune (or musical content) unknown, presumably same as A 63 |
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Misericordias Domini - 2nd Sunday after Easter |
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A 65 |
104 |
XXIII |
I/11.1 |
1724 |
Du Hirte Israel, höre |
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A 66 |
85 |
XX/1 |
I/11.1 |
1725 |
Ich bin ein guter Hirt |
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A 67 |
112 |
XXIV |
I/11.1 |
1731 |
Der Herr ist mein getreuer Hirt |
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Jubilate - 3rd Sunday after Easter |
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A 68 |
12 |
II |
I/11.1 |
1714 |
Weinen, Klagen, Sorgen, Zagen |
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A 69 |
103 |
XXIII |
I/11.2 |
1725 |
Ihr werdet weinen und heulen |
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A 70 |
146 |
XXX |
I/11.2 |
1726 |
Wir müssen durch viel Trübsal in das Reich Gottes eingehen |
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Cantate - 1st Sunday after Easter |
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A 71 |
166 |
XXXIII |
I/12 |
1724 |
Wo gehest du hin? (incomplete) |
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A 72 |
108 |
XXIII |
I/12 |
1725 |
Es ist euch gut, daß ich hingehe |
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Rogate - 1st Sunday after Easter |
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A 73 |
86 |
XX/1 |
I/12 |
1724 |
Wahrlich, wahrlich, ich sage euch |
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A 74 |
87 |
XX/1 |
I/12 |
1725 |
Bisher habt ihr nichts gebeten in meinem Namen |
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Ascension Day |
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A 75 |
37 |
VII |
I/12 |
1724 |
Wer da gläubet und getauft wird |
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A 76 |
128 |
XXVI |
I/12 |
1725 |
Auf Christi Himmelfahrt allein |
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A 77 |
43 |
X |
I/12 |
1726 |
Gott fähret auf mit Jauchzen |
|
D 9 |
11 |
II |
II/8 |
1735 |
Himmelfahrts-Oratorium - Ascension Oratorio → G 39, G 42, E 1IV |
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Exaudi - Sunday after Ascension Day |
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A 78 |
44 |
X |
I/12 |
1724 |
Sie werden euch in den Bann tun (I) |
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A 79 |
183 |
XXXVII |
I/12 |
1725 |
Sie werden euch in den Bann tun (II) |
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A 80 |
deest |
- |
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Cantata sketch, text & tune unknown, presumably same as A 79 |
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Whit Sunday |
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A 81 |
172 |
XXXV |
I/13 |
1714 |
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A 82 |
59 |
XII/2 |
I/13 |
1723 |
|
|
A 83 |
74 |
XVIII |
I/13 |
1725 |
|
|
A 84 |
34 |
VII |
I/13 |
1740 |
|
| |
|
|
|
|
|
| |
|
|
|
|
Whit Monday |
|
A 85 |
173 |
XXXV |
I/14 |
1724 |
|
|
A 86 |
68 |
XVI |
I/14 |
1725 |
|
|
A 87 |
174 |
XXXV |
I/14 |
1729 |
|
| |
|
|
|
|
|
| |
|
|
|
|
Whit Tuesday |
|
A 88 |
184 |
XXXVII |
I/14 |
1724 |
|
|
A 89 |
175 |
XXXV |
I/14 |
1725 |
|
| |
|
|
|
|
|
| |
|
|
|
|
Trinity Sunday |
|
A 90 |
165 |
XXXIII |
I/15 |
1715 |
|
|
A 91 |
194 |
XXIX |
I/31 |
1723 |
Also B 31 |
|
A 92 |
176 |
XXXV |
I/15 |
1725 |
|
|
A 93 |
129 |
XXVI |
I/15 |
1726 |
|
| |
|
|
|
|
|
| |
|
|
|
|
1st Sunday after Trinity |
|
A 94 |
75 |
XVIII |
I/15 |
1723 |
|
|
A 95 |
20 |
II |
I/15 |
1724 |
|
|
A 96 |
39 |
VII |
I/15 |
1726 |
|
| |
|
|
|
|
|
| |
|
|
|
|
2nd Sunday after Trinity |
|
A 97 |
76 |
XVIII |
I/16 |
1723 |
Also A 185 |
|
A 98 |
2 |
I |
I/16 |
1724 |
|
| |
|
|
|
|
|
| |
|
|
|
|
3rd Sunday after Trinity |
|
A 99 |
21 |
V/1 |
I/16 |
1714 |
|
|
A 100 |
135 |
XXVIII |
I/16 |
1724 |
|
| |
|
|
|
|
|
| |
|
|
|
|
4th Sunday after Trinity |
|
A 101 |
185 |
XXXVII |
I/17.1 |
1715 |
|
|
A 102 |
24 |
V/1 |
I/17.1 |
1723 |
|
|
A 103 |
177 |
XXXV |
I/17.1 |
1732 |
|
| |
|
|
|
|
|
| |
|
|
|
|
5th Sunday after Trinity |
|
A 104 |
93 |
XXII |
I/17.2 |
1724 |
|
|
A 105 |
88 |
XX/1 |
I/17.2 |
1726 |
|
| |
|
|
|
|
|
| |
|
|
|
|
6th Sunday after Trinity |
|
A 106 |
170 |
XXXIII |
I/17.2 |
1726 |
|
|
A 107 |
9 |
I |
I/17.2 |
1732-35 |
|
| |
|
|
|
|
|
| |
|
|
|
|
7th Sunday after Trinity |
|
A 108 |
186 |
XXXVII |
I/18 |
1723 |
|
|
A 109 |
107 |
XXIII |
I/18 |
1724 |
|
|
A 110 |
187 |
XXXVII |
I/18 |
1726 |
|
| |
|
|
|
|
|
| |
|
|
|
|
8th Sunday after Trinity |
|
A 111 |
136 |
XXVIII |
I/18 |
1723 |
|
|
A 112 |
178 |
XXXV |
I/18 |
1724 |
|
|
A 113 |
45 |
X |
I/18 |
1726 |
|
| |
|
|
|
|
|
| |
|
|
|
|
9th Sunday after Trinity |
|
A 114 |
105 |
XXIII |
I/19 |
1723 |
|
|
A 115 |
94 |
XXII |
I/19 |
1724 |
|
|
A 116 |
168 |
XXXIII |
I/19 |
1725 |
|
| |
|
|
|
|
|
| |
|
|
|
|
10th Sunday after Trinity |
|
A 117 |
46 |
X |
I/19 |
1723 |
|
|
A 118 |
101 |
XXIII |
I/19 |
1724 |
|
|
A 119 |
102 |
XXIII |
I/19 |
1726 |
|
| |
|
|
|
|
|
| |
|
|
|
|
11th Sunday after Trinity |
|
A 120 |
199 |
XLI (inc) |
I/20 |
1714 |
|
|
A 121 |
179 |
XXXV |
I/20 |
1723 |
|
|
A 122 |
113 |
XXIV |
I/20 |
1724 |
|
| |
|
|
|
|
|
| |
|
|
|
|
12th Sunday after Trinity |
|
A 123 |
69a |
XVI ? |
I/20 |
1723 |
|
|
A 124 |
137 |
XXVIII |
I/20 |
1725 |
|
|
A 125 |
35 |
VII |
I/20 |
1726 |
|
| |
|
|
|
|
|
| |
|
|
|
|
13th Sunday after Trinity |
|
A 126 |
77 |
XVIII |
I/21 |
1723 |
|
|
A 127 |
33 |
VII |
I/21 |
1724 |
|
|
A 128 |
164 |
XXXIII |
I/21 |
1725 |
|
| |
|
|
|
|
|
| |
|
|
|
|
14th Sunday after Trinity |
|
A 129 |
25 |
V/1 |
I/21 |
1723 |
|
|
A 130 |
78 |
XVIII |
I/21 |
1724 |
|
|
A 131 |
17 |
II |
I/21 |
1726 |
|
| |
|
|
|
|
|
| |
|
|
|
|
15th Sunday after Trinity |
|
A 132 |
138 |
XXVIII |
I/22 |
1723 |
|
|
A 133 |
99 |
XXII |
I/22 |
1724 |
|
|
A 134 |
51 |
XII/2 |
I/22 |
1730 |
|
| |
|
|
|
|
|
| |
|
|
|
|
16th Sunday after Trinity |
|
A 135 |
161 |
XXXIII |
I/23 |
1715 |
|
|
A 136 |
95 |
XXII |
I/23 |
1723 |
|
|
A 137 |
8 |
I |
I/23 |
1724 |
|
|
A 138 |
27 |
V/1 |
I/23 |
1726 |
|
| |
|
|
|
|
|
| |
|
|
|
|
17th Sunday after Trinity |
|
A 139 |
114 |
XXIV |
I/23 |
1724 |
|
|
A 140 |
148 |
XXX |
I/23 |
1723 |
|
|
A 141 |
47 |
X |
I/23 |
1726 |
|
| |
|
|
|
|
|
| |
|
|
|
|
18th Sunday after Trinity |
|
A 142 |
96 |
XXII |
I/24 |
1724 |
|
|
A 143 |
169 |
XXXIII |
I/24 |
1726 |
|
| |
|
|
|
|
|
| |
|
|
|
|
19th Sunday after Trinity |
|
A 144 |
48 |
X |
I/24 |
1723 |
|
|
A 145 |
5 |
I |
I/24 |
1724 |
|
|
A 146 |
56 |
XII/2 |
I/24 |
1726 |
|
|
A 147 |
Anh 2 |
- |
|
1730 |
Sacred Cantata [fragment] |
| |
|
|
|
|
|
| |
|
|
|
|
20th Sunday after Trinity |
|
A 148 |
162 |
XXXIII |
I/25 |
1715 |
|
|
A 149 |
180 |
XXXV |
I/25 |
1724 |
|
|
A 150 |
49 |
X |
I/25 |
1726 |
|
| |
|
|
|
|
|
| |
|
|
|
|
21st Sunday after Trinity |
|
A 151 |
109 |
XXIII |
I/25 |
1723 |
|
|
A 152 |
38 |
VII |
I/25 |
1724 |
|
|
A 153 |
98 |
XXII |
I/25 |
1726 |
|
|
A 154 |
188 |
XXXVII |
I/25 |
1728 |
|
| |
|
|
|
|
|
| |
|
|
|
|
22nd Sunday after Trinity |
|
A 155 |
89 |
XX/1 |
I/26 |
1723 |
|
|
A 156 |
115 |
XXIV |
I/26 |
1724 |
|
|
A 157 |
55 |
XII/2 |
I/26 |
1726 |
|
| |
|
|
|
|
|
| |
|
|
|
|
23rd Sunday after Trinity |
|
A 158 |
163 |
XXXIII |
I/26 |
1715 |
|
|
A 159 |
139 |
XXVIII |
I/26 |
1724 |
|
|
A 160 |
52 |
XII/2 |
I/26 |
1726 |
|
| |
|
|
|
|
|
| |
|
|
|
|
24th Sunday after Trinity |
|
A 161 |
60 |
XII/2 |
I/27 |
1723 |
|
|
A 162 |
26 |
V/1 |
I/27 |
1724 |
|
| |
|
|
|
|
|
| |
|
|
|
|
25th Sunday after Trinity |
|
A 163 |
90 |
XX/1 |
I/27 |
1723 |
|
|
A 164 |
116 |
XXIV |
I/27 |
1724 |
|
| |
|
|
|
|
|
| |
|
|
|
|
26th Sunday after Trinity |
|
A 165 |
70 |
XVI |
I/27 |
1723 |
|
| |
|
|
|
|
|
| |
|
|
|
|
27th Sunday after Trinity |
|
A 166 |
140 |
XXVIII |
I/27 |
1731 |
|
| |
|
|
|
|
|
| |
|
|
|
|
Purification |
|
A 167 |
83 |
XX/1 |
I/28.1 |
1724 |
|
|
A 168 |
125 |
XXVI |
I/28.1 |
1725 |
|
|
A 169 |
82 |
XX/1 |
I/28.1 |
1727 |
|
|
A 170 |
157 |
XXXII |
I/34 |
1727 |
Also B 20 |
|
A 171 |
158 |
XXXII |
I/10 |
1728-31 |
Also A 61 |
| |
|
|
|
|
|
| |
|
|
|
|
Annunciation |
|
A 172 |
182 |
XXXVII |
I/8.2 |
1714 |
Also A 53 |
|
A 173 |
1 |
I |
I/28.2 |
1725 |
|
| |
|
|
|
|
|
| |
|
|
|
|
Visitation |
|
A 174 |
147 |
XXX |
I/28.2 |
1723 |
|
|
A 175 |
10 |
I |
I/28.2 |
1724 |
|
| |
|
|
|
|
|
| |
|
|
|
|
St. John |
|
A 176 |
167 |
XXXIII |
I/29 |
1723 |
|
|
A 177 |
7 |
I |
I/29 |
1724 |
|
|
A 178 |
30 |
V/1 |
I/29 |
1738 |
|
| |
|
|
|
|
|
| |
|
|
|
|
St. Michael |
|
A 179 |
130 |
XXVI |
I/30 |
1724 |
|
|
A 180 |
19 |
II |
I/30 |
1726 |
|
|
A 181 |
149 |
XXX |
I/30 |
1728 |
|
|
A 182 |
deest |
|
|
|
Cantata sketch, text & tune unknown, presumably same as A 181 |
| |
|
|
|
|
|
| |
|
|
|
|
Reformation Festival |
|
A 183 |
80 |
XVIII |
I/31 |
1724 |
|
|
A 184 |
79 |
XVIII |
I/31 |
1725 |
|
|
A 185 |
76 |
XVIII |
I/16 |
1723 |
Also A 97 |
| |
|
|
|
|
|
| |
|
|
|
|
Unsepcified Occasions |
|
A 186 |
223 |
- |
- |
1707-08? |
|
|
A 187 |
117 |
XXIV |
I/34 |
1728-31 |
|
|
A 188 |
192 |
XLI |
I/34 |
1730 |
|
|
A 189 |
97 |
XXII |
I/34 |
1734 |
|
|
A 190 |
[248a] |
|
|
|
cantata fragment, text and tune unknown |
|
A 191 |
100 |
XXII |
I/34 |
1732-35 |
|
|
A 192 |
200 |
- |
I/28.1 |
1742 |
|
|
A 193 |
1045 |
XXI/1 |
I/34 |
1743-46 |
Sinfonia [fragment] |
|
A 194 |
50 |
X |
I/30 |
1723? |
|
|
-- |
|
|
Source: Volume 1, Part 1: Vocal Works I (containing the BC numbers A 1 to A 100),
Leipzig 1985, ISBN 3-369-00031-8 or Frankfurt/M. 1986, ISBN 3-876-26081-7
Volume 1, Part 2: Vocal Works II (containing the BC numbers A 101 to A 194),
Leipzig 1987, ISBN 3-369-00032-6
Compiled by Aryeh Oron & David O. Berger [Concordia Seminary Library, St. Louis, MO, USA] (September 2009) |
