Jubilate Sunday Cantatas

Jubilate Sunday Cantatas, Chorales, Theme

William L. Hoffman wrote (April 16, 2016):
The theme of sorrow turned to joy or the sorrow-joy-antithesis is found in all four chorus cantatas Bach presented in Leipzig on “Jubilate” or the Third Sunday after Easter, beginning with Cantata BWV 12, “Weinen, Klagen, Sorgen, Zagen” (Weeping, crying, mourning, sighing) [(John 16:20] (Salomo Franck text, Weimar, 4/22/1714); repeated April 30, 1724, Bach’s only repeat in the first cycle for the Sundays after Easter. The opening Introit antiphon, “Make a joyful noise,” and Psalm are the beginning of Psalm 66(1-2): “Jubilate Deo” (Be joyful in God all ye lands; sing the glory of his name and praise; how awesome are your deeds, through your great power your enemies submit).

All the cantatas open with texts of tribulation and lamentation, based on the Bible: *BWV 103, “Ihr werdet weinen und heulen” (Ye shall weep and howl) [John 16:20] (Mariane von Ziegler text, Leipzig, 4/22/1725); repeated 4/15/1731. *BWV 146, “Wir müsen durch viel Trübsal in das Reich Gottes eingehen” (We must through much tribulation into the Kingdom of God enter) [Acts 14:22] (?Picander text; Leipzig, 5/12/1726 or 5/18/1728). *JLB 8, “Die mit Tränen säen” (That with tears seen) [Psalm 126:4-6] (Leipzig 5/12/1726 [uncertain] c.1743-46) (Prince Ernst of Meiningen/Rudolstadt text).

Bach’s unceasing string of original church service cantatas nearing two years in Leipzig took a major new direction in terms of both texts and music with the presentation of Cantata BWV 103, “Ihr werdet weinen und heulen” (Ye will be weeping and wailing) on Jubilate Sunday, the third after Easter Sunday, April 22, 1725.

John Eliot Gardiner in his recent musical biography, Bach: Music on the Castle of Heaven (New York, Alfred A. Knopf, 2013: 333), suggests that the 1725 Easter Season cantatas were commissioned in 1724 but delayed a year. The sudden cessation of the chorale cantata cycle at Easter 1725 is discussed in Eric Chafe’s recent study: Johannine Theology: The St. John Passion and the Cantatas for Spring 1725 (New York: Oxford University Press, 2014: 47).

Cantata 12, originally composed in Weimar, was reperformed in Leipzig during the first cantata cycle, at the early main service of the Thomas church, before the sermon of Pastor Christian Weise Sr. (1671-1731), the Bach family father confessor, says Martin Petzoldt in Bach Commentary, Vol. 2, Advent to Trinityfest (p.822). Weise also was a member of the theology faculty at Leipzig University and on the previous Monday, April 24, 1724, was promoted to doctor of theology together with seven other candidates.

Sorrow to Joy, John’s Farwell Discourses

All four extant cantatas move to and conclude with joy in non-Easter season chorale texts and melodies:

12 Weinen, klagen; 12/6 tenor aria, tp. Mel. “Jesu, meine Freude” (Jesus, my joy), 1714/24. BWV 12/7 “Was Gott tut, das ist wohlgetan . . . dabei will ich verblieben” (What God does, that is well-done . . . Thereon shall I rest) = 69a/6 Tr. 12. 103/6 chorale text Paul Gerhardt 1653 “Barmherzger Vater, höchster Gott” (Merciful Father, highest God); BWV 103/6 mel. “Was mein Gott will” (What my God wills), Ziegler 1725. Cantata 146/8, text “Lasset ab von eurer Tränen” (Leave off your tears), 1728 Picander. BWV 146/8Werde munter, mein Gemüte” (Become cheerful, my spirit). Cantata JLB 8/8,1726, chorale “Komm her zu mir, spricht Gottes Sohn” (Come here to me, speaks God’s Son).

Bach’s Easter Season musical sermons portray the initial sorrow of Christ’s disciples and his followers at his death leading at the resurrection to an initial, brief inward joy which grows in Christ’s final 40 days on earth to Ascension Day at which, “They worshiped him and went back to Jerusalem, filled with great joy, and spent all their time in the Temple giving thanks to God” (Luke 24:52-53, the conclusion of Luke’s Gospel).

The juxtaposition of sorrow and joy is a central theme in Bach’s works, especially in the great closing choruses of all three extant Passions for Good Friday, and is based upon Ecclesiates 3:4: “There is a time for sorrow and a time for joy, for mourning and dancing.” Each of the rest-in-the grave choruses of Bach’s original Passion settings of John, Matthew, and Mark uses sorrowful texts set to dance music, respectively: “Rest well, ye holy limbs,” a 3/4 minuet; “We sit our selves down in tears,” a 3/4 sarabande; and “By thy rock grave and great tombstone,” a 12/8 gigue.

The theme reflecting sorrow at Christ’s death and joy at his resurrection is based on the service Gospel reading, John 16:16-23, “Jesus’ Farewell,” in Jesus’ Farewell Discourses to his disciples in John’s Gospel, Chapters 14-17. It is the first of four Discourses used as the Gospel readings for the final four Sundays After Easter: Jubilate [3rd Sunday after Easter, "Make a joyful noise"], John 16:16-23 Christ’s Farewell; Cantate [4th Sunday after Easter, "Sing"], John 16: 5-15, Work of the Spirit; Rogate [5th Sunday after Easter, "Pray"], John 16:23-30, Christ’s Promise to the Disciples; Exaudi [6th Sunday after Easter, "Hear"], John 15: 26-16: 4, Spirit will come.

Jubilate Readings, Easter Fair

The relevant Gospel text is found in BCW, http://www.bach-cantatas.com/LCY/Jubilate.htm [20] Verily, verily, I say unto you, That ye shall weep and lament, but the world shall rejoice: and ye shall be sorrowful, but your sorrow shall be turned into joy. [21] A woman when she is in travail hath sorrow, because her hour is come: but as soon as she is delivered of the child, she remembereth no more the anguish, for joy that a man is born into the world. [22] And ye now therefore have sorrow: but I will see you again, and your heart shall rejoice, and your joy no man taketh from you. Epistle, 1 Peter 2:11-20, Christ’s Farewell. The Introit motet is a setting of Psalm 66, Jubilate Deo omnis terra, Make a joyful noise unto God, all ye lands (KJV), known as “praise to the strange works of God,” says Petzoldt (Ibid.: 811). The full text is found on-line at http://christiananswers.net/bible/psa66.html.

Jubilate Motets & Chorales (Douglas Cowling): Introit: “Jubilate Deo” (LU 821); Motet: “Jubilate Deo Omnis Terra”; Hymn de Tempore: “Christ Lag in Todesbanden”; Pulpit Hymn: “Christ ist Erstanden”; Hymns for Chancel, Communion & Closing: “Erscheinen ist der Herrlichen Tag.” The NBA KB is I/11.2 for the 3^rd Sunday after Easter, Reinmar Emans ed., 1989. Cantata BWV 150, “Nach dir, Herr, verlanget mich” (For you, Lord, is my longing, Psalm 25:1), April 29, 1708 or earlier, is appropriate for Jubilate Sunday, says Petzoldt (Ibid.).

Jubilate Sunday “marked the start of the Ostermesse, the Easter trade fair, when, for three weeks, a flood of visitors – book dealers, craftsmen, hawkers, and international commercial travelers –swelled the resident population to some 30,00 citizens,” says Gardiner Ibid.: 336f). On this Sunday, no trading was allowed, thus the visitors and distinguished residents would “certainly want to hear something fine in the principal churches,” says Bach’s predecessor, Johann Kuhnau, cited in Gardiner’s book. The other two festive annual fairs were the winter one, beginning on the First Sunday after Epiphany, and the fall fair beginning on the Feast of St. Michael’s, September 29.

“All three of Bach’s surviving cantatas for Jubilate (BWV 12, 103, 146) concerns themselves with the sorrow surrounding Jesus’ farewell to his followers, with the trials that await them in his absence, and with joyful thoughts of seeing him again,’ says Gardiner. Each is a journey, a musical and emotive progression – from profound gloom and anguish to euphoric celebration, based on the Gospel for the day . . . .”

Jubilate Text Parallels

Bach considered but did not complete two works for Jubilate Sunday, BWV 224, and Picander Cycle Cantata P-33. The initial texts of both are quite similar, in a troubling mood. BWV 224, “Reißt euch los, bekränkte Sinnen” (Break away, O troubled spirits); opening soprano aria fragment(librettist unknown); uncertainty whether music is by Bach [1724] or C.P.E. Bach [1732]. The text continues: “Break away, /Let the long accustomed pain / This day gain no place within you; /Break away, O troubled heart.” BCW: http://www.bach-cantatas.com/BWV224.htm (Z. Philipp Ambrose)

Between this text and the tenor aria with trumpet solo (No. 5) in Cantata 103 also are “unmistakable text parallels,” says Andreas Glöckner, “New Knowledge of J.S. Bach’s Performance Calendar, 1729-35” (<Bach Jahrbuch 1991>, 43-75; here pp. 52f.: Recover now, O troubled feelings, / Ye cause yourselves excess of woe. / Leave off your sorrowful beginning, / Ere I in tears collapse and fall, / My Jesus is again appearing, / O gladness which nought else can match! / What good to me thereby is given, / Take, take my heart, my gift to thee! [BCW: http://www.uvm.edu/~classics/faculty/bach/BWV103.html (Z. Philipp Ambrose)]

Picander Cycle, P-33 “Fasse dich, betrübter Sinn” (Control yourself, troubled mind), Picander text only survives, ?5/18/1729); Opening chorus or aria text continues: “Thy tears/ are only a little lasting, / Ah, a little is soon spent, / Control yourself, troubled mind.” [two lines missing, no da capo indicted in printed text); plain chorale No. 6, “Ah, I have already perceived this great glory (cf. 162/6, Trinity +20, 1715). “Alle Menschen müssen sterben.” (All men must die).

Easter Season Cantata Chorales (Jubilate):

1. BWV 12/6. Trumpet melody Crüger “Jesu, meine Freude” in tenor aria; most appropriate verse (J. Franck), S. 6, “Weicht, ihr Trauergeister” (Retreat, you specters of sorrow), ref. Dürr Cantatas JSB: 308.
2. BWV 12/7. Rodegast “Was Gott tut, das ist wohlgetan” (6 stanzas, “Cross and Trial”) . . . dabei will ich verblieben” (S.6); music & text found in 69a/6. Also used in: 144/3 (S.1), Epiphany 6; 69a/6 (S.6), Trinity12; 75/6 (S.1), Trinity 1; 99 (chorale cantata), Trinity 15; 98/1 (S.1), Trinity 21; 100 (pure-hymn cantata), no specified service; 250 (S.1), wedding; 1116, Neumeister organ prelude; Orgelbüchlein organ preludes Nos. 111, 112 (Christian Life & Conduct: Persecution,” not set).
3. BWV 103/6, “Ich hab ein Augenblock” (I have Thee a moment), S9, Gerhardt “Barmherzger Vater, höchster Gott” (18 verses) (melody “Was mein Gott will”).
4. BWV 146/8, Richter “Lasset ab von eurer Tränen” (Leave off your tears), transmitted without text; Wustmann supplies Gregorius Richter, verse 9 of "Lasset ab von euren Tränen" (Then where therein blessed), 1658 (Fischer-Tümpel, I, #309) [Z. Philipp Ambrose BCW); melody J. Schop “Werde munter, mein Gemüte”), (S.9) E3
5. JLB 8/8, Grunwald melody “Komm her zu mir, spricht Gottes Sohn” (Mat. 11:28; E3, “Es euch das Kreuz, Ihr aber werdt, Und was der ewig Gütig Gott” (S.14-16); 86/3 “Und was der ewig Gütig Gott” (S.16) E5; melody only in 108/6, Gerhardt “Gott Vater, senden deine Geist” (S.10 of 16) E4; melody only also in 74/8, “Gott Vater, sende deinen Geist” (S.2) P.
6. 1729: P-33/6=?162/6, Albinius (Tr.+20, 1715) “Alle Menschen müßen sterben (S.7); P33/6 E3=?162/6(Tr20), 262=?P-70 (Tr26); 643 (OB131 Death/Dying), 1117

Thus Bach for Jubilate Sunday presented cantatas with a chorale emphasis on joy, beginning with Cantata BWV 12 in Weimar in 1714 and repeated in Leipzig in 1724, using the melody “Jesus, my joy” and the Rodigast chorale “What God does, that is well done.”

For his next Jubilate cantata, BWV 103, Bach closes with Paul Gerhardt’s 18 verse sorrow-joy antithesis chorale text, “Barmherzger Vater, höchster Gott” (Merciful Father, highest God), set to the affirmative melody “What my God wills.” German text and Francis Browne English translation, BCW http://www.bach-cantatas.com/Texts/Chorale078-Eng3.htm

In Cantata BWV 146, Bach harmonized the melody “Werde munter, mein Gemüte” (Become cheerful, my spirit),” without text, the preferred text (Dürr 313) being the ninth verse of Gregorius Richter’s "Lasset ab von euren Tränen" (Leave off your tears).

The J.L. Bach Cantata JLB-8 that Sebastian presented in Leipzig uses the last three verses of Grunwald’s chorale, “Komm her zu mir, spricht Gottes Sohn” (Come here to me, speaks God’s Son), an affirmation of joy through faith.

Possible Jubilate Chorale Cantata

As to the possibility of Bach composing a chorale cantata in 1725 or later for Jubilate Sunday, the best possibility, when all factors are considered, could be undesignated pure-hymn Cantata BWV 100, “Was Gott tut, das ist wohlgetan.” It is dated between 1732 and 1735, with six verses by Samuel Rodigast. It was repeated c.1737 and again c.1742. It is often considered a wedding cantata but the manuscript shows no division into two parts, before and after the wedding. Further, its provenance is obscured as it became the property of Carl Philipp Emmanuel Bach, though still undesignated.

Various Bach scholars have assigned Cantata BWV 100 to either the 15^th or the 21^st Sunday after Trinity. For the 15^th Sunday After Trinity, September 17, 1724, Bach had composed Chorale Cantata BWV 98, “Was Gott tut, das ist wohlgetan,” with paraphrases of verses 2-5. For the 21st Sunday After Trinity, October 29, 1724, Bach composed Cantata BWV 38, “Aus tiefer Not schrei ich zu dir.” Günther Stiller (<JSB& Liturgical Life in Leipzig>) thinks that BWV 100 very likely belongs to this Sunday, Trinity 21 (p.146) although in examining Bach’s use of “Was Gott tut, das ist wohlgetan” to close Cantata 12, added in Leipzig along with the trumpet tune “Jesu, meine Freude” to the tenor aria, Stiller observes that the hymn is classified as “Concerning Cross and Trial” and these are recommended for the Sundays in Easter (p.240f).

In his study of Cantata 12, “Weinen, Klagen, Sorgen, Zagen,” Dürr (p.308) concludes: “The chorale melody (“Was Gott tut, das ist wohlgetan”) has a particular significance in the context of this cantata: as now becomes clear, it was anticipated by the imitative theme of No. 5 [bass aria with violin], which is itself thematically related to no. 3 [alto recitative, “Wir müsen durch viel Trübsal in das Reich Gottes eingehen”]. Thus the thematic contrast between chromatic descent (No. 2 [opening chorus]) and diatonic ascent (nos. 3, 5, and 7 and also by allusion in the continuo steps of no. 1 [sinfonia] pervades the entire cantata. Details of Cantata BWV 12 are available at BCW: http://www.bach-cantatas.com/BWV12.htm.

Descent/Ascent Easter Parabola

Quoting my discussion of the St. John Passion: Descent/Ascent. Dürr’s observation that the (St. John) Passion text is an arch – actually an inverted arch -- from “majesty to lowliness and back to majesty” is called the great parabolic movement of descent and ascent described in Paul’s Letter to the Philippians 2:6-11). Originally a hymn sung by the Christians, it is the second reading, or Epistle, on Palm (Passion) Sunday. This text is used in 16 movements of Bach sacred cantatas (<Biblical Quotation and Allusion in the Cantata Libretti of JSB>, Ulrich Meyer; London: Scarecrow Press, 1997: 210).

The Pauline hymn describes the “secret hour” when God in Christ reversed the parabola, the upward movement humans prefer, for the downward movement. Jesus “poured out and emptied himself, becoming a servant and, being born in the image of a human being, appeared in human form” (NRSV). “It begins with the great self-emptying or kenosis, that we call the incarnation in Bethlehem, and ends with the Crucifixion in Jerusalem” (Richard Rohr, Daily Meditation, Center for Action and Contemplation, 3/28/10, www.cacradicalgrace.org). It is the “curve of divine self-humbling from heaven to earth, reaching its lowest point in death, the death of the cross, and then sweeping heavenwards again in Christ’s exaltation to divine Lordship over all” (J. Dunn, <Christology in the Making> (Philadelphia: Westminster Press, 1980), 114.

Jubilate, Cantate Theology, Chorales, Ludwig Bach Cantatas

William L. Hoffman wrote (April23, 2018):
Jubilate Sunday, also known as the 3rd Sunday after Easter, is the pivotal Sunday in the Easter period that concludes the de tempore (Proper Time) of the Christological first half-year of the church, fulfilling the Great Parabola of descent and ascent involving the incarnation of Jesus Christ on earth in human form representing his body and blood sacrifice, with sorrow turned to joy. In Bach's Leipzig, Jubilate was the beginning of the annual spring fair lasting three weeks, sometimes with the visit of Saxon royalty and the publication of all four parts of Bach's Clavierübung (1731-41, https://en.wikipedia.org/wiki/Clavier-Übung). The main theme was sorrow that eventually would be turned into joy, which also was the format of many cantatas beginning in Easter time and continuing through the eschatological final Sundays after Trinity (Pentecost) at the end of the church year when the cycle would begin again with the pre-Incarnation Advent time. Meanwhile, following Jubilate was Cantate Sunday wth its intimate focus on Jesus Christ as iconic Good Shepherd/Sacrificial Lamb, beginning the turning into ultimate joy. Bach's focus during mid-Easter in the first cycle was on music that looked back to the basic themes of longing and expectation, while in the second cycle he abandoned chorale cantatas with little theological and liturgical importance in favor of the non-synoptic, unique Johannine gospel Farewell Discourse, and in the final third cycle he took up intimate, devotional cantatas of Johann Ludwig Bach with biblical quotations and allusions, as well as basic Lutheran theology.

Bach's calling of a well-ordered church music began with cantata performances in Weimar in early 1714 with monthly works, except for three-month closed periods of public mourning in later 1714 and 1715. The earlier Weimar and Mühlhausen performance calendar shows almost entirely non-church year compositions (BWV 71, 196, 524, 106, 131, 233a, ?21/11, and Anh. 192) for special occasions involving joy for town council installations and weddings and entailing sorrow for memorial services and possibly Good Friday penitential services. The church-year exceptions are the c1707-08 Easter Sunday chorale Cantata 4 setting of Martin Luther's "Christ lag in Todesbanden” (Christ lay in death's bonds), and undesignated Cantata 150, “Nach dir, Herr, verlanget mich” (For you, Lord, is my longing, Psalm 25:1b; http://www.bach-cantatas.com/BWV150-D6.htm, https://www.youtube.com/watch?v=JaIQm0ToQJw), possibly either for Jubilate Sunday (3rd after Easter) with its sorrow-to-joy Gospel theme (John 16:20), or for the 3rd Sunday after Trinity with its theme of Jesus Christ as the Good Shepherd.

The dialectic of sorrow-turned-to-joy also is described in biblical, symbolic terms as "Tears into Wine," the title of Eric Chafe's musical-theological study of the Weimar cantatas,¹ when Bach's monthly compositions marked the beginning of a well-ordered church music, as well as his initial exploration of the principal Christolgical themes in 1714 involving Incarnation (Cantatas 61, 63, and 152), The Way of the Cross (Cantatas 182 and 12), and the Descent and Indwelling of the Holy Spirit (Cantata 172). Bach's initial cantatas were presented every four Sundays on Palm Sunday (BWV 182), Jubilate (BWV 12), Pentecost (BWV 172) and Good Shepherd Sunday (3rd after Trinity), Cantata 21.

The juxtaposition of sorrow and joy is a central theme in Bach’s works, especially in the great closing choruses of all three extant Passions for Good Friday, and is based upon Ecclesiastes 3:4: “There is a time for sorrow and a time for joy, for mourning and dancing.” Each of the rest-in-the grave choruses of Bach’s original Passion settings of John, Matthew, and Mark uses sorrowful texts set to dance music of joy, respectively: “Rest well, ye holy limbs,” a 3/4 minuet (https://www.youtube.com/watch?v=1cMrlPdvpSg); “We sit our selves down in tears,” a 3/4 sarabande (https://www.youtube.com/watch?v=jygOAnPMWOE; and “By thy rock grave and great tombstone,” a 12/8 gigue (https://www.youtube.com/watch?v=_kAldh3LTZo).

In the Jubilate Sunday (https://en.wikipedia.org/wiki/Jubilate_Sunday) with its Johannine Farewell Discourse gospel (Jn. 16:16-23, https://www.biblegateway.com/passage/?search=John+16%3A16-23&version=KJV), Sorrow Turned to Joy (16:20), Jesus at the Last Supper with his disciples speaks of "his coming departure and subsequent return, his going to the Father, the persecution the disciples can expect from the world, and their subsequent joy," relates Chafe (Ibid.: 508). Cantata 12, "Weinen, Klagen, Sorgen, Zagen" (Weeping, Lamenting, Worry, Apprehension), "emphasizes waiting for rather than realization of the state of fulfillment promised by Jesus," he says. The Epistle is 1 Peter 2:11-20 (Suffer patiently for well-doing; Readings, http://www.bach-cantatas.com/Read/Jubilate.htm. The Jubilate service began with the Introit Psalm 100, Jubilate Deo omnis terra, alleluia" (Make a joyful noise unto the Lord, all ye lands, https://www.biblegateway.com/passage/?search=Psalm+100&version=KJV), see below, "Jubilate Motets, Chorales, Other Cantatas."

The current three-year lectionary does not have as any Gospel reading this Johannine passage, also known as The Second Coming, instead using for Jubilate John Chapter 10, Parable of the Shepherd: Year A (usually Matthew) verses 1-10; Year B (usually Mark), verses 11-18, I am the Good Shepherd; and Year C (usually Luke), verses 22-30, Jesus is rejected. The appropriate cantatas, says John S. Sutterlund,² are: Year A, BWV 175, "Er rufet seinen Schafen mit Namen" (He calls his own sheep by name, John 10:3), for Pentecost Tuesday 1725 and c.1730), and Cantata 104, "Du Hirte Israel, höre" (You Shepherd of Israel, listen), for the 2nd Sunday after Easter (Misericordias Domini) 1724/31; Year B, Cantata 85, "Ich bin ein guter Hirt" (I am a good shepherd, John 10:11), for Misericordias Domini 1725, and BWV 184, "Erwünschtes Freudenlicht" (Longed-for light of joy), for Pentecost Tuesday 1724); and Year C, pure-hymn Cantata 112, "Der Herr ist mein getreuer Hirt," (The Lord is my faithful shepherd, Psalm 23:1), for Misericordias Domini 1729 or 1731, and Cantata 85.

In Bach's one year lectionary, the Good Shepherd Sundays were 2nd after Easter (http://www.bach-cantatas.com/LCY/Misericordias-Dom..htm), Pentecost Tuesday (http://www.bach-cantatas.com/LCY/Pfingstdienstag.htm), and 3rd after Trinity (http://www.bach-cantatas.com/LCY/3.So.n.Trin..htm). In the current lectionary, Bach's Jubilate Cantatas, says Sutterlund, are particularly appropriate as follows: Cantata 12, Wednesday of Holy Week (John 13:21-32), Cantata 103, 2nd Sunday after Pentecost Year B (Mark: 2:13-22), Cantata 146, 10th Sunday after Pentecost, Year C (Luke 12:49-56). Cantata 100 is most appropriate for the Last Sunday in Easter (Exaudi), this year's B, John 17:6-19, Jesus Prays for His Disciples.

Jubilate Cantatas

The emphasis in Jubilate Cantata 12, as with Bach's two other cantatas in Leipzig for Jubilate Sunday (http://bach-cantatas.com/LCY/Jubilate.htm), is on the disciples' (and the believers') sorrow and tribulation in the present as part of the two-fold meaning of the cross: tribulation followed bytrust and refreshment (https://www.youtube.com/watch?v=AS_mdDaeS3o). Bach also set the opening chorus as the "Crucifixus" in the B-Minor Mass (https://www.youtube.com/watch?v=p6tjdsydu_A). The process of the Way of the Cross towards the eschatological perspective of future glory is described in 1726 Cantata 146, "Wir müssen durch viel Trübsal in das Reich Gottes eingehen" (We must through much tribulation enter into the kingdom of God, Acts 14:22, https://www.youtube.com/watch?v=MORa0Y98Z1o). The change from sorrow into joy is found in dictum of 1725 Cantata 103, "Ihr werdet weinen und heulen, aber die Welt wird sich freuen" (You will weep and howl, but the world will rejoice), John 16:20, https://www.youtube.com/watch?v=UN-K2avGLgc).

Bach's three Jubilate cantatas close with significant congregational chorales: Cantata 12, "Was Gott tut, das ist wohlgetan: Dabei will ich verbleiben" (What God does that is done well: I shall stay with this, https://www.youtube.com/watch?v=3Il1YH2x280); Cantata 146: "Werde munter mein Gemüte" (Be alert , my soul), also known as "Jesu, joy of man's desiring" (https://www.youtube.com/watch?v=6UmXBHCjBNk); and Cantata 103, Stanza 9, "Ich habe dich ein Augenblick / O liebes Kind, verlassen" (I have for a moment, / my dear child, left you), Paul Gerhardt's comfort and prayer 18-stanza "Barmherzger Vater, höchster GOtt" (Merciful Father, highest God), set to the Passion melody, “Was mein Gott will, das g'scheh' allzeit” (What my God wants, may it always happen).

Beginning with the third Sunday after Easter (Jubilate) the post-Resurrection Sunday Gospels in Bach’s time, involving the work and witness of the Paraclete (Holy Spirit, advocate, intercessor), focus on Jesus Christ’s Farewell Discourse and promise of the Second Coming to his Disciples John, Chapter 16). The Sundays, Gospel themes and Bach works are: 1. Jubilate [3rd Sunday after Easter, "Make a joyful noise"], John 16: 16-23, "Sorrow turned to joy" in "Christ's Farewell" (Cantatas BWV 12, BWV 103, BWV 103 (BWV 224); 2. Cantate [4th Sunday after Easter, "Sing"], John 16: 16-23, "The work of the Paraclete (Holy Spirit)"; Cantatas BWV 166, BWV 108. Rogate [5th Sunday after Easter, "Pray"], John 16: 23-30, "Prayer in the name of Jesus" as Christ's Promise to the Disciples; Cantatas BWV 86, BWV 87. 4. Exaudi [Sunday after Ascension, "Hear"], John 15: 26-16: 4, "Spirit will come" in the "Witness of the Paraclete"; Cantatas BWV 44, BWV 183. The Pentecost Gospel is the last of the five unique Jesus’ farewell discourses to his disciples in John’s gospel, Chapters 14-16; Whit Sunday [1st Day of Pentecost], John 14: 23-31 "Promise of the Paraclete" as "The Gift of Peace" (Cantatas BWV 172, BWV 59, BWV 74, BWV 34, BWV 218).

In her commissioned texts for the nine consecutive Spring 1725 cantatas from Jubilate Sunday to Trinityfest, poet Mariane von Ziegler “explores the “above/below aspect of John in terms of antithetical and complimentary in the cantatas that lead to and culminate on Ascension Day,” says Eric Chafe.³ Running through her text for Bach’s Cantata 103 “is a theme complex that closely reflects the eschatological [last things] character of the above/below complimentary” involving the seeing of Jesus with his disciples prominent in the cantatas of the earlier part of the Easter season and the theme of hearing him in the later part, “a symbolic motion from external to internal that leads to Pentecost and the ‘indwelling’ [inhabitatio] of God in the faithful” through the presence of the Holy Spirit. This dialectical “double sense of the present/future, physical/spiritual seeing” is particularly clear in the first and second cantatas based on the Farewell Discourse, BWV 103 for Jubilate and BWV 108 for the succeeding Cantate Sunday (see below, "Cantate Motets, Chorales, Cantatas").

The four progressive temporal levels of theological understanding are expressed throughout Cantata 103: the literal-historical is the opening biblical motto, "You will weep and howl, but the world will rejoice", John 16:20; the allegorical in the analogy between the disciples and the church; the tropological in the change from the collective to the personal response; and the eschatological future emerges in the “crown of joy” in the closing chorale, says Chafe (Ibid.: 439).

Jubilate Cantatas JLB 8, BWV 100

Two other cantatas Bach performed have strong connections to Jubilate Sunday. One is Johann Ludwig Bach's “Die mit Tränen säen / werden mit Freuden ernten” (Who has sorrow planting reaps then rejoicing, Psalm 126:4), JLB-8,⁴ performed on Jubilate ?1726 and c.1743-46 (https://carusmedia.com/images-intern/medien/30/3000100/3000100x.pdf), which closes with the last three verses of Grunwald’s chorale, “Komm her zu mir, spricht Gottes Sohn” (Come here to me, speaks God’s Son), an affirmation of joy through faith (see below). The movements with text (?Ernst Ludwig, Sachsen-Meiningen, https://www.bach-digital.de/receive/BachDigitalWork_work_00008290?XSL.Style=detail) are: 1. Chorus (Psalm 126:5-6), "Die mit Tränen säen" (Who has sorrow planting); 2. Recit (A), "Bei unverdroßnem Schweiß" (Alone by work and care); 3. Aria (A), "Tau und Tränen" (Dew and weeping); 4. Duet (Romans 8:18, TB), "Denn ich halte es dafür" (This I strongly do maintain); 5. Aria (S), "Dringt, ihr Qualen auf mich her" (Come, o torments, over me); 6. Recit. (S), "Es kann die Seel kein besser Glück genießen" (The soul can know no higher satisfaction); 7a. Chorus (prelude & fugue), "O angenehmer Tausch, o Lohn, dem nichts zu gleichen" (O wonderful exchange, reward beyond comparing); 7b. Chorale, “Komm her zu mir, spricht Gottes Sohn” (Come here to me, says God's son; details below, "Jubilate Motets, Chorales, Other Cantatas").

This theme of sorrow to joy, also found in the first movement of Brahms' German Requiem https://www.youtube.com/watch?v=aQGQG79xBFg), in JLB 8 adds the phrases "dew" and "weeping" and moves to affirmation. The score (P-397, https://www.bach-digital.de/receive/BachDigitalSource_source_00020651) in the hand of Johann Heinrich Bach, dates to 1726, while the parts (SATB, strings and continuo, St. 305, https://www.bach-digital.de/receive/BachDigitalSource_source_00017511) primarily in the hand of Johann Nathanael Bammler, dates to c.1743-46. The collection of 17 Johann Ludwig Bach Cantatas to Rudolstadt texts (Discussions in the Week of June 20, 2010, BCML http://www.bach-cantatas.com/BWV15-D.htm), has the following provenance: J. S. Bach - C. P. E. Bach - ?C. F. Zelter - BB (now Berlin, Staatsbibliothek zu Berlin Preußischer Kulturbesitz.

The other Jubilate work is undesignated pure-hymn Cantata BWV 100, “Was Gott tut, das ist wohlgetan” (What God does, that is done well). It is dated between 1732 and 1735, with six verses by Samuel Rodigast. It was repeated c1737 and again c1742. Its joyous character makes it an ideal candidate to fill the Easter Season gap in Bach’s chorale cantata cycle of 1725 for the third Sunday after Easter (https://www.youtube.com/watch?v=kjbWG_HhwjM), known as “Jubilate,” with its Psalm 66 introit, “Jubilate Deo,” listed for Jubilate in Bach's Neu Leipziger Gesangbuch (NLGB) of 1682, also the Introit psalm for the Trinityfest, Christmas, and the Michaelfest. Where all of Bach’s previous efforts atmusical sermons for Jubilate Sunday began in sorrow, weeping, and lamentation, ultimately moving to joy, Bach chose to set all six stanzas of Rodigast’s affirmative hymn on overcoming cross, persecution and trial though unwavering faith that is typical of the later Easter season Johananine farewell discourses of Jesus Christ to his disciples encouraging them to sing, prayer and hear the trust of the Holy Spirit following his departure. The chorale was appropriate for a wedding in Bach's Leipzig but the manuscript shows no division into two parts, before and after the wedding. Further, its provenance is obscured as it eventually became the property of Carl Philipp Emmanuel Bach, though still undesignated, and not part of the chorale cantata cycle division between Friedemann and Anna Magdalena.

Jubilate Motets, Chorales, Other Cantatas

The pivotal Jubilate chorales embrace both the Easter festival designated hymns in the NLGB for the first three Sundays after Easter, as well as other Jubilate hymns found in other hymnbooks as well as chorales Bach used in Jubilate cantatas which have associations/allusions to the Jubilate Gospel. The NLGB Easter hymns are the Hymn of the Day, “Christ ist erstanden” (Christ is arisen), and the Hymns for Chancel, Communion, and closing: anonymous "Erstanden ist der heil'ge/Herre Christ (Arisen is the holy/Lord Christ), Stoltzhagen-Gesius “Heut triumphieret Gottes Sohn” (This day in triumph, God’s Son) and Nicolaus Hermann “Erscheinen ist der Herrlich’ Tag” (Here shining is the splendid day).

The Georg Grünwald⁵ 1530 hymn, “Komm her zu mir, spricht Gottes Sohn” (Come here to me, says God's son), also is known as "Verzage nicht, o Häuflein klein" (Fear not, o little flock) and is mentioned in the Dresden hymn schedules to be sung on Jubilate Sunday, says Günther Stiller.⁶ The hymn "Was Gott tut, das ist wohlgetan" (Ob. 112) is among the general hymns concerning Cross and Trial also found in the Dresden hymnbooks appropriate for Jubilate, he says, but not listed in the NLGB (Cross, Persecution & Challenge, NLGB 275-304), although appropriate for this Sunday. Introit Psalm 100, Jubilate Deo omnis terra, alleluia" (Make a joyful noise unto the Lord, all ye lands) is set as a motet by Josquin, Giovanni Gabrielli (https://www.youtube.com/watch?v=HVszbFWtFH0), Palestrina, Heinrich Schütz, SWV 262 (https://www.youtube.com/watch?v=2OWsC64y0dQ) and others (https://www.cdandlp.com/en/scheidt-schutz-selle-speer-pezel/jubilate-deo-omnis-terra/lp/r3057146087/).

“Komm her zu mir, spricht Gottes Sohn” is found in the NLGB No. 234, “Christian Life and Conduct” https://books.google.com/books?id=UmVkAAAAcAAJ&pg=PA623#v=onepage&q&f=false. The hymn’s final three stanzas close Johann Ludwig Bach’s Jubilate Cantata JLB 8, “Die mit Tränen säen” (That with tears seen, https://www.bach-digital.de/receive/BachDigitalWork_work_00008290?lang=en, https://carusmedia.com/images-intern/medien/30/3000100/3000100x.pdf): “Ist euch die Kreuz bitter und schwer” (If this cross is full of woe, S. 14), “Ihr aber werdt nach dieser Zeit” (You, after this short time; S.15), and "Und was der ewig gütig Gott" (And what the eternally good God, http://www.bach-cantatas.com/Texts/Chorale095-Eng3.htm, http://www.lutheranchoralebook.com/texts/come-unto-me-saith-god-the-son/); melody (Zahn 2496c, EKG 245) information http://www.bach-cantatas.com/CM/Kommt-her-zu-mir.htm, musical settings: 84/3, 74/8, 108/6.⁷ The melody also is found in Michael Altenberg's 1631 Battle of Leipzig, "Verzage nicht, o Häuflein klein" (Fear not, o little flock), NLGB 317, Word of God & Christian Church (https://books.google.com/books?id=UmVkAAAAcAAJ&pg=PA823#v=onepage&q&f=false), https://www.youtube.com/watch?v=VFI-yoWDr4g. The hymns “Komm her zu mir, spricht Gottes Sohn” and "Verzage nicht, o Häuflein klein" are not found in the Orgelbüchlein but in the Schmelli Gesangbuch (Leipzig 1736) as No. 555, Christian Life and Hope, and No. 419, Prayer.

The Grünwald hymn also is set in Johann Michael Bach's chorale prelude, https://www.youtube.com/watch?v=HP4V8ZHeauU, as well as settings of Dietrich Buxtehude, BuxWV 201 (http://imslp.org/wiki/File:WIMA.c25c-Buxtehude_WV-201a.pdf), Johann Pachelbel (http://imslp.org/wiki/File:PMLP734042-57_IMSLP275598-PMLP446730-Choralbearbeitungen.pdf), and Brahms. Bach's colleagues composing cantatas for Jubilate were Georg Philipp Telemann (http://www.musiqueorguequebec.ca/catal/telemann/telgp01d.html#0132), Christoph Graupner https://en.wikipedia.org/wiki/List_of_cantatas_by_Christoph_Graupner#GWV_1131, GWV 1133), and Gottfried Heinrich Stölzel, as well as student Gottfried Homilius and Wolfgang Carl Briegel (see http://imslp.org/wiki/Category:Pieces_for_the_3rd_Sunday_after_Easter_(Jubilate). They also systematically presented cantatas on the succeeding Cantate Sunday.

Cantate, 4th Sunday after Easter

For the 4th Sunday after Easter, known as Cantate Sunday, Bach in Leipzig reduced his workload to two extant intimate solo cantatas, BWV 166, "Wo gehest du hin?" (Where are you going?, John 16:5; https://en.wikipedia.org/wiki/Wo_gehest_du_hin%3F_BWV_166), and BWV 108, "Es ist euch gut, daß ich hingehe" (It is good for you that I should go away, John 16:7; https://en.wikipedia.org/wiki/Es_ist_euch_gut,_daß_ich_hingehe,_BWV_108), as well as another cantata of his Meiningen cousin Johann Ludwig Bach (JLB 14), all three presented within a three-year period, 1724-26 (http://www.bach-cantatas.com/LCY/Kantate.htm). Liturgically, the day's gospel of John's Farewell Discourse (16:5-15, It is expedient that I go away) presents a transitional concept of the pending Ascension of Jesus and the coming of the Holy Spirit as Comforter. This is reflected in the choice of chorales for this Sunday in Bach's time. While the Easter festival hymns in the NLGB are appropriate, others for the Ascension and Pentecost may be sung. Bach responds by using Paul Gerhardt's "Gott Vater, sende deinen Geist" (God our Father, send your spirit, see details below) closing Cantata 108, Stanza 10, “Dein Geist, den Gott vom Himmel gibt” (Your Spirit, which God gives from heaven). Cantatas 166 and JLB 14 use thematic-related Jesus hymns.

Other Cantate Readings are Epistle, James 1:17-21 “Every good gift is from above” http://www.bach-cantatas.com/Read/Cantate.htm (alluded to in Cantata JLB 14). Cantate Sunday is derived from Cantate Domino (Sing to the Lord) from the Introit Motet, Psalm 98:1: “O sing unto the Lord a new song; forhe hath done marvelous things” (https://www.biblegateway.com/passage/?search=Psalm+98&version=KJV). Meanwhile, Bach resumed his primary duties as cantor to the completion of the Thomas School term and preparation for the end of the de tempore first half of the church year with the festivals of Pentecost and Trinity Sunday.

The current three-year lectionary for Cantate Sunday (5th Sunday of Easter) has three different readings from John's Gospel of Farewell Discourse themes for his disciples, with other appropriate Bach vocal works, says Sutterlund (Ibid.: 58-60): this Year B, John 15:1-8, Lost Sheep Parable, with Praise to God, Cantata 148, "Bringet dem Herrn Ehre seines Namens" (Bring to the Lord the glory of his name, Psalm 29:2), for the 17th Sunday after Trinity 1713, and alternate Cantata 31, "Der Himmel lacht! die Erde jubilieret" (The heavens laugh! The earth shouts with joy) for Easter Sunday 1715/24/31; Year A, John 14:1-14, Jesus: The Way to the Father, Motet BWV 229, "Komm Jesu, komm," c.1732-32, and alternate chorus Cantata 99, “Was Gott tut, das ist wohlgetan” (What God does, that is done well), 15th Sunday after Trinity 1724; and Year C, John 13:31-35, The New Commandment, to Love One Another, Cantata 95, "Christus, der ist mein Leben" (Christ is my life), for the 15th Sunday after Trinity 1723, and alternate Cantata 76, "Die Himmel erzählen die Ehre Gottes" (The heavens declare the glory of God, Psalm 19:1), for the 2nd Sunday after Trinity 1723 and 1724 or 1725. Bach's Cantate Cantatas are appropriate in the current lectionary as follows, says Sutterlund: BWV 166, this year's Year B, Mark 9:30-37, September 18-24; and Cantata 108, Year A, John 14:15-21, Promise of Holy Spirit.

Cantate Motets, Chorales, Cantatas

In 1724 Cantata 166, Bach used two thematically-related chorales with popular melodies: the central (no. 3) chorale aria, Stanza 3 “Ich bitte dich, Herr Jesu Christ, / Halt mich bei den Gedanken” (I ask you, Lord Jesus Christ, / keep me in your thoughts), from Bartolomäus Ringwaldt’s 1582 “Herr Jesu Christ, ich weiß gar wohl” (HJC, I know Thee quite well), set to the anonymous 1597 melody “Herr Jesu Christ, du höchstes Gut” (HJC, Thou Highest Good), and the closing plain chorale (No. 6), Ämilie Juliane, Count of Schwartzburg-Rudolstadt, 12-stanza 1688 chorale text, “Wer weiß, wie nahe mir mein Ende” (Who knows how near to me is my end?), to the possible Georg Neumark melody “Wer nur den lieben Gott laßt wahlten” (Who only lets the dear God govern).

Cantata 108 closes with a setting of “Gott Vater, sende deinen Geist,” the Gerhardt 16-stanza, six line (AABCBC) pietist chorale is listed in the Dresden hymnbooks "specifically" for Cantate Sunday, says Stiller (Ibid.: 241). It is listed in the Dresdner Gesangbuch 1725 for Cantate and Exaudi Sundays, says Martin Pezoldt in Bach Commentary, Vol. 2, Advent to Trinityfest.⁸ It was first published in the 1653 (Berlin) edition of Johann Crüger’s Praxis Pietatis Melica, to a melody by Crüger, “Den Herren meine Seel’ erhebt.” Bach follows general use in associating the hymn with the tune “Kommt her zu mir,” as it appeared first in Gerhardt’s Geistliche Andachten (Berlin, 1667). “Gott Vater, sende deinen Geist” also closes Bach’s Pentecost Sunday chorus Cantata BWV 74, “Wer mich liebet, der wird mein Wort halten” (Whoever loves me will keep my word, John 14:23), premiered four weeks after Cantata 108, on 20 May 1725, Stanza 2, “Kein Menschenkind hier auf der Erd / Ist dieser edlen Gabe wert” (No human being here on earth / is worthy of this noble gift), music settings https://www.youtube.com/watch?v=mEjh0j8KHv8. The Gerhardt text and Francis Browne English translation are found at BCW http://www.bach-cantatas.com/Texts/Chorale096-Eng3.htm. Bach also used another Gerhardt hymn designated for Cantate Sunday, “Wach auf, mein Herz, und singe” (Awake my heart and sing, https://www.youtube.com/watch?v=m8AoE7sDCzU), in Cantata 194, “Höchsterwünschtes Freudenfest” (Most greatly longed for feast of joy), for Trinityfest 1724, 1726, and 1731. The Gerhardt (1607-1676) BCW Biography is found at http://www.bach-cantatas.com/Lib/Gerhardt.htm.

Cantata 108 reveals the Johannine theology, based on the day’s Gospel (John 16:5-15), centering on Christ’s Farewell Discourse to the disciples that after he departs from the earth the Holy Spirit of the Triune God will be there to advocate and protect the believers. In the Christian Nicene Creed, which is an expansion of the Apostles Creed, the believers vow: “We believe in the Holy Spirit, the Lord, the giver of life, who proceeds from the Father and the Son. With the Father and the Son he is worshiped and glorified. He has spoken through the Prophets.” It is sung as a bass aria (no. 16), “Et in Spiritum Sanctum" (And in the Holy Spirit), in Bach’s B Minor Mass https://www.youtube.com/watch?v=r0WoSDtssKo.

This Holy Spirit principle in Cantata 108 is reinforced in the pivotal shift with the following, second Gospel dictum, a rare internal (No. 4) chorus fugal motet setting of John 20:13, “Wenn aber jener, der Geist der Wahrheit kommen wird” (But when he comes, the spirit of truth will come; https://www.youtube.com/watch?v=FVt4QChFQgU). Here, “Jesus describes the spirit as bringing truth to the disciples,” says Chafe (Ibid.: 453). These second central Johannine dicta also are found or alluded to in the succeeding Cantatas BWV 87, 74, 68, 175 and 176, set to texts of Mariane von Ziegler, for Rogate Sunday, the Pentecost three-day festival, and Trinityfest Sunday, says Chafe, closing the de tempore (Proper Time) of the first half of the church year focusing on the presence of Jesus Christ as the Son of God. Martin Luther “viewed this verse [13] entirely in a Trinitarian light, unifying and distinguishing the Father as the one who speaks, the Son as Word, and the Spirit as the one who listens and conveys,” says Chafe (Ibid.: 452).

The year after Cantata 108 was presented, Bach on Cantate Sunday (12 May 1726) presented Johann Ludwig Bach Cantata JLB-14, "Die Weisheit kommt nicht in eine boschaft Seele (Wisdom comes not in a malicious soul, https://www.classicalarchives.com/work/723866.html), using a Rudolstadt text. Only the parts survive (St. 306, oboes with strings, https://www.bach-digital.de/receive/BachDigitalSource_source_00017514). The movements are: No. 1, Chorus, "Die Weisheit kömmt nicht in eine boshafte Seele" (I will pour my spirit into you, Wisdom 1:4; No. 2, Recit. (T), "Wie stehen Tag und Finsternis zusammen" (How can day and darkness come together, John 18:8); No. 3, Aria (T), "Licht und Recht muss die Brust der Seelen weisen" (Light and justice must flow from the breast to the soul); No. 4, Arioso (B), "Wenn derselbige kommt, der die Welt wird strafen" When the same ones comes who shall punish the world), John 16:8, vox Christi); No. 5, Aria (S): "Streu ein Fünklein reiner Flammen" (Sow a spark of pure flame); No. 6, Recit. (S): "Wie kann ich sonst vor seinem Recht bestehn?" (How else can I stand before his justice?); and No. 7, Chorale (chorus), "O du allersüß'ste Freude" (O thou, sweetest joy of all; "Du bist helig, lässt duch finden (Thou art holy, to be found). "The text refers — very loosely — to motifs from the epistle assigned to this Sunday (James 1:17-21) and develops the idea that God's word can only be effective in a pure soul," says Peter Wollny (liner notes, http://www.bach-cantatas.com/Performers/Max.htm#P3). The opening chorus old testament dictum is set as four-part fugue while John's gospel Farewell Discourse (16:8) is set as a graphic vox Christ bass arioso (no. 4) with similar music in the three following movements.

Cantate Cantata JLB 14 closes (No. 7) with a chorale chorus setting of the Paul Gerhardt 10 eight-line (ABABCCDD) stanza text, "O du allersußeste Freude"⁹ (Stanzas 1, 5, https://www.youtube.com/watch?v=yb6JHtG5Q_w, http://www.bach-cantatas.com/Performers/Max.htm#P3), set to the Johann Heermann Bar Form 1636 melody "Zion klangt mit Angst und Schmerzen" (Zion mourns with anxiety and pain, Zahn 6543, ELG 219), best known as Louis Bourgeois 1550 Psalm 42 paraphrase, "Freu dich sehr, o meine Seele" (Rejoice greatly, o my soul, http://www.bach-cantatas.com/Texts/Chorale030-Eng3.htm). It was first published in 1648, in Crüger's Praxis pietatis melica (Berlin) and is known in English as "0 Thou sweetest Source of gladness" of J. C. Jacobi. The Gerhardt hymn is found in the Schmelli Gesangbuch as No. 366, Sending of the Holy Spirit. There is no Bach setting although Bach set Gerhardt's "Weg, mein Herz, mit den Gedanken" (Away, my heart, with the thought), to the same melody as a plain chorale closing Cantata 32, "Liebster Jesu, mein Verlangen" (Dearest Jesus, my desire) for the 1st Sunday after Epiphany 1726 (http://www.bach-chorales.com/BWV0032_6.htm).

Recent scholarship suggests that Cantata 166 in the first cycle may have been presented in 1724 on a double bill with a reperformance of Weimar solo Cantata BWV Anh. 191, "Leb ich, oder leb lich nicht," music lost, based on a text of court poet Salomo Franck (Evangelisches Andachts-Opffer (1715). It is possible that Bach premiered Cantata Anh. 191 on Cantate Sunday, 19 May 1715, four weeks after the premiere of festive Easter chorus Cantata BWV 31, “Der Himmel lacht! die Erde jubilieret” (The heavens laugh! The earth shouts with joy),” as part of his Concertmaster duties to present church-year cantatas every four weeks, usually based on Franck published text. However, there is virtually no source-critical evidence to support its possible existence as a work of Bach.

FOOTNOTES

¹ Eric Chafe, Part IV, Cantata for Weimar 1714, Tears into Wine: J. S. Bach's Cantata 21 in its Musical & Theological Contexts (Oxford University Press, 2015).
² John S. Sutterlund, Bach Through the Year: The Church Music of Johann Sebastian Bach and the Revised Common Lectionary (Minneapolis MN: Lutheran University Press, 2013: 57f).
³ Eric Chafe, J. S. Bach’s Johannine Theology: The St. John Passion and the Cantatas for Spring 1725, Chapter 10, “Jubilate to Ascension Day: Cantatas 103, 108, 87, and 128”; “Introduction: Jesus’s departure and return, seeing and hearing” (Oxford University Press, 2014: 433f).
⁴ JLB 8, German text https://www.bach-digital.de/receive/BachDigitalSource_source_00017511; English (on-line translation), https://www.bach-digital.de/receive/BachDigitalWork_work_00008290?XSL.Style=detail; details, https://en.wikipedia.org/wiki/Johann_Ludwig_Bach.
⁵ Georg Grünwald (1490-1530), https://translate.google.com/translate?hl=en&sl=de&u=https://de.wikipedia.org/wiki/Georg_Gr%25C3%25BCnwald&prev=search.
⁶ Günther Stiller, Johann Sebastian Bach and Liturgical Life in Leipzig, ed. Robin A. Leaver, trans. Herbert J. A. Bouman etc (St. Louis: Concordia Publishing 1984: 240f).
⁷ Bach's uses (Chafe, J. S. Bach’s Johannine Theology: https://books.google.com/books?id=sO4kAwAAQBAJ&pg=PA421&lpg=PA421&dq=komm+her+zu+mir+spricht+gottes+sohn&source=bl&ots=Nre-IcEj6o&sig=WSZy4LmDj7Bg5mWc3sBexu0yoSw&hl=en&sa=X&ved=0ahUKEwiMutfi6cbaAhUE5YMKHYXhC3U4ChDoAQhPMAk#v=onepage&q=komm%20her%20zu%20mir%20spricht%20gottes%20sohn&f=false).
⁸ Martin Petzoldt, Bach Kommentar: Theologisch Musikwissenschaftlicke Kommentierung der Geistlichen Vokalwerke Johann Sebastian Bachs; Vol. 2, Die Geistlichen Kantaten vom 1. Advent bis zum Trinitatisfest; Internationale Bachakademie Stuttgart (Kassel: Bärenreiter, 2007: 858).
⁹ "O du allersußeste Freude," German text, https://hymnary.org/text/o_du_allersuesste_freude; English version, https://hymnary.org/text/o_thou_sweet_source_of_gladness.

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To Come: Easter Rogate Sunday and Ascension Feast & Oratorio, BWV 11.