Cöthen Court: Homage Serenades, Sacred Cantata Sources
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Cöthen Court: Homage Serenades, Sacred Cantata Sources

William L. Hoffman wrote (June 20, 2018):
In keeping with the duties of Capellmeister at various central German courts, Bach at Anhalt-Cöthen from 1717 to 1723 composed the newest style serenades or Abendmusik in praise of the reigning Prince Leopold as secular congratulatory cantatas for New Year's Day and the prince's birthday, December 10 (1694-1728, https://en.wikipedia.org/wiki/Leopold,_Prince_of_Anhalt-Köthen. Beginning with model texts of the court poet Christian Friedrich Hunold, known as Menantes (1681-1721, http://www.bach-cantatas.com/Lib/Hunold.htm, https://en.wikipedia.org/wiki/Christian_Friedrich_Hunold), Bach produced dialogue cantatas from the world of opera with two allegorical singers in da-capo arias often with obbligato instrument and four-part closing ensemble. Bach kept the original materials for several works and recycled them through parody (new-text underlay), first as sacred cantatas for the first cycle in Leipzig for the Monday and Tuesdays of the Pentecost and Easter Festivals, as well as the Trinityfest.

Extant materials show that Bach in Cöthen composed almost entirely profane serenades while only the text of one sacred work survives, BWV Anh. 5, "Lobet den Herrn, alle seine Heerscharen" (Praise ye the Lord, all ye of his great armies) on 10 December 1718,¹ presumably in the morning divine service at the Calvinist St. Jacobi church, while serenade Cantata BWV 66a was presented in the evening at the Cöthen castle in the great hall, Spiegel-saal (hall of mirrors). Bach's Cöthen works, including those surviving only with texts, were first documented in Friedrich Smend's Bach in Köthen, suggesting "that each date involved one piece of church vocal music and one secular."² Thus, it is possible that some 10 sacred works also were presented, involving reperformances of select Weimar cantatas as well as newly-composed pieces similar to the BWV Anh. 5 model. Smend finds that source materials from surviving parts shows that Bach during this time also presented sacred Cantatas 21, 172, and 199, with chorus Cantata 21, "Ich hatte viel Bekümmernis in meinem Herzen" (I had much affliction in my heart, per ogni tempo), most likely being his test piece for the unsuccessful position of organist at Hamburg's St. Jacobi Church on 23 November 1720. Some Bach sacred works composed early in Leipzig have movements with characteristics that suggest Cöthen origins: Cantatas 32, 193a, 97, and 190.

Sacred Cantata Sources

Among these three Leipzig sacred cantatas, similarities are found in solo Cantata 32, "Liebster Jesu, mein Verlangen" (Dearest Jesus, my desire), a Soul-Jesus (soprano-bass) dialogue cantata, possible librettist, Bach student Christoph Birkmann, for the 1st Sunday after Epiphany 1726. Cantata 32 matches the scoring of oboe and strings and two dance-style arias, of early wedding soprano solo Cantata 202, "Weichet nur, betrübte Schatten," (Give way now, dismal shadows), says Smend (Ibid.) in Chapter 8 (74ff). They da-capo arias are the 3/8 menuet-style bass aria (No. 3), "Hier, in meines Vaters Stätte" (Here, in my Father's place), similar to the 3/8 passepied-style aria (No. 7), "Sich üben im Lieben, / In Scherzen sich herzen / Ist besser als Florens vergängliche Lust." (To become adept in love), and the 4/4 gavotte-style duet in canon (No. 5), ""Sich üben im Lieben" (To become adept in love), similar to the closing 2/2 gavotte (No. 9), "Sehet in Zufriedenheit" (See in contentment). Most striking is the opening of the first aria in both cantatas, with the plaintive oboe entrance: https://www.youtube.com/watch?v=h2CJkdOxJd4 (BWV 202), and https://www.youtube.com/watch?v=T7QPa6Ap4tw (BWV 32). Smend also notes the recitative-arioso style in both cantatas. Meanwhile, the overall structure of alternating arias and recitatives in Cantata 32 is similar to the serenades BWV 66a and 134a.

Similarities also are found in the opening chorus and two dance-style arias of serenade Cantata 193a, "Ihr Häuser des Himmels, ihr scheinenden Lichter" (Ye hoof heaven, ye shining lights), presented as a birthday cantata for the name day of Saxon ruler August II (The Strong), on 3 August 3 1727 in Leipzig during a royal visit (http://www.bach-cantatas.com/BWV193-D4.htm). The source of Cantata BWV 193a in all likelihood, says Smend (Ibid.: 69-73), is a Cöthen celebratory secular cantata (serenade, https://www.bach-digital.de/receive/BachDigitalWork_work_00000235?lang=en) for Prince Leopold, possibly presented on New Year's Day 1721, with lost text possibly by Christian Friedrich Hunold (Menantes). Smend finds that the opening chorus and the two da-capo arias have similar musical features and textual characteristics to Cöthen compositions (https://www.youtube.com/watch?v=PyqzO3gT_n8), with the addition of trumpets and drums. They are the festive opening and repeated closing chorus, extensive oboe work in both arias (Nos. 3 and 5), all three movements in da-capo form, and use of minuet-style dance in 3/8 in the soprano aria (No. 3), and the fifth movement, a love duet between Providentia and Fama (text: http://www.uvm.edu/~classics/faculty/bach/BWV193a.html). Likewise, 1724 New Year's sacred Cantata BWV 190, "Singet dem Herrn ein neues Lied!" (Sing to the Lord a new song!) has an opening chorus, polonaise-style aria (No. 3), recitative-arioso (No. 4), and duet (No. 5) that have the trademarks of a Cöthen work (https://www.youtube.com/watch?v=dz9yf0fvaQc), says Smend (Ibid.: 66-68).

A work overlooked by Smend is the pure-hymn, undesignated Cantata BWV 97, "In allen meinen taten" (In all my doings), appropriate for both a wedding or a memorial service. It was begun in 1725 for Exaudi Sunday as part of a 10-year odyssey, possibly borrowing material from Köthen for the opening chorus French Overture in two-parts and tenor aria (Verse 4), “Ich traue seiner Gnaden” (I trust in his grace), B-flat Major; 4/4 allemande style (https://www.youtube.com/watch?v=Qog4b2OV9ns). The original source, as with Cantata 194, "Hochster-wünschtes Freudenfest" (Most greatly longed for feast of joy), may be an orchestral suite, as is 1723 Town Council Cantata 119, "Preise, Jerusalem, den Herrn" (Praise, Jerusalem, the Lord, https://www.bach-digital.de/receive/BachDigitalWork_work_00000144?lang=en).³

Addendum: Bach may have been involved in the presentation of a sacred cantata in May 1719 at the dedication festival of the Lutheran Agneskirchke, based on a church bill, suggests Christoph Wolff in The New Grove Bach Family (1983: 70). In addition, in the summers of 1721 and 1722, Bach may have been involved in festive cantata presentations at neighboring principalities: a homage cantata for Friedrich II of Saxe-Gotha, 2 August 1721; a church performance at the Schleiz Court of Heinrich XI Count von Reuss, around 10 August 1721; and a birthday serenade, O vergnügte Stunden, BWV Anh. 194=1154 (https://www.bach-digital.de/receive/BachDigitalWork_work_00001505?lang=en), for Johann August, Prince of Anhalt-Zerbst, on 9 August 1722.

Extant CöthenSerenades

First extant are a pair of simple secular works, 1718 birthday, BWV 66a, "Der Himmel dacht auf Anhalts Ruhm und Glück" (Since heaven cared for Anhalt's fame and bliss, Z. Philip Ambrose http://www.uvm.edu/~classics/faculty/bach/BWV66a.html, https://www.bach-digital.de/receive/BachDigitalWork_work_00000083?lang=en), and 1719 New Year's, BWV 134a, "Die Zeit, die Tag und Jahre macht" (Now time, which day and year doth make, Ambrose, https://www.bach-digital.de/receive/BachDigitalWork_work_00000166?XSL.Style=detail, http://www.uvm.edu/~classics/faculty/bach/BWV134a.html), "that display a judicious mixture of French dance and Italian concerto and operatic styles, observes Richard D. P. Jones.⁴ With Fame and Felicity in the former and Time and Divine Providence in the latter, they sing the praises of the prince and his realm. Also, the idiomatic obbligato parts display a concertante element with ritornello interludes recalling Bach's instrumental concertos that are one of the hallmarks of his compositions for court orchestra formed from the dismissal of the Prussian Court in Berlin in 1714. These two have the predominate 3/8 dance of the gigue-passepied type, "with largely homophonic textures and regular phrase structures" says Jones.

The other two extant pair-serenades are "more diverse and adventurous," Jones says. First is 1722 birthday BWV 173a "Durchlauchtster Leopold" (Illustrious Leopold), https://www.bach-digital.de/receive/BachDigitalWork_work_00000211?XSL.Style=detail, http://www.uvm.edu/~classics/faculty/bach/BWV173a.html; score survives https://www.bach-digital.de/receive/BachDigitalSource_source_00000865, parody overlay BWV 173 (http://www.bach-cantatas.com/Texts/BWV173-Eng3.htm); repeat 1727, 1731. Next is 1723 New Year's BWV 184a, "Erwünschtes Freudenlicht" (Longed-for light of joy), poet unknown with unnamed characters (https://www.bach-digital.de/receive/BachDigitalWork_work_00000223, https://www.bach-digital.de/receive/BachDigitalSource_source_00002333). The style in both is more galant and the dances styles more diverse, including binary dance bouree (BWV 173a/8) as well in Cantata 184a an opening accompagnato, followed by a duet in the style of a pastorale, a reprise form aria (No. 4) in polonaise style, and a closing ensemble binary gavotte.

"This process reaches its logical conclusion in [Cantata 194] Hochster-wünschtes Freudenfest" (Most greatly longed for feast of joy), a vocal-instrumental version of a French ouverture-suite, says Jones (Ibid.: 108), "for a special occasion, possibly in the first three months of 1723 (before Bach's move to Leipzig that April)." The later version which became a 1724 Trinityfest cantata, BWV 194, has a grand overture and closing closing gigue-passapied finale framing four dance-style arias (pastoral, gavotte gigue, and menuet), interspersed with new recitatives (http://www.bach-cantatas.com/BWV194-D4.htm, https://www.youtube.com/watch?v=z9LvuUWBPzU). As with Cantata BWV 184a and 134a, only some salvaged Köthen orchestral parts survive, says Smend (Ibid.: 218f), https://www.bach-digital.de/receive/BachDigitalSource_source_00002543, https://www.bach-digital.de/receive/BachDigitalWork_work_00000223).

Extant Texts Only

Between 1718 and 1721, Hunold-Menantes, who taught poetry and rhetoric at nearby Halle University, published many cantata texts in Auserlesene und theils noch nie gedruckte Gedichte unterschiedener Berühmten und geschickten Männer (Selected and in Some Case Not Yet Printed Poems by Distinguished Famous and Skilled Men). They are the source of Bach’s first congratulatory birthday (December 10) and New Year’s cantatas at the Cöthen court. This collection of homage texts includes a lengthy ode of 80 stanza alexandrines “that Bach presented to his sovereign on behalf of the court orchestra on the occasion of his birthday on December 10, 1719,” says Smend in Bach in Köthen (Appendix A, 1985: 211). Five works are documented as Hunold-Menantes texts to Bach Cöthen Cantatas BWV 66a (12/10/1718) and BWV 134a (1/1/19), and (no music surviving) to BWV Anh. 5-7: the first a sacred work (12/10/1718), "Lobet den Herrn, alle seine Heerscharen" (Praise ye the Lord, all ye of his great armies, http://www.uvm.edu/~classics/faculty/bach/XIII.html); the last a “Pastoral dialogue, ” "Heut ist gewiß ein guter Tag" (Today indeed is one fine day, http://www.uvm.edu/~classics/faculty/bach/ix.html), and BWV Anh. 6, "Dich loben die lieblichen Strahlen der Sonne" (Thy honor is told by the sun's lovely radiance, http://www.uvm.edu/~classics/faculty/bach/ix.html).

The lost pastoral dialogue, Cantata BWV Anh. 7 has three allegorical figures in Hunold’s text: the shepherdess Sylvia, the huntsman Phillis, and the shepherd Thyrsis. This 10-movement work (no music survives) alternating recitatives and arias, including a terzett and a closing tutti, was probably performed on 10 December 1720, and apparently was Hunold’s last collaboration with Bach (http://www.uvm.edu/~classics/faculty/bach/XII.html, https://www.bach-digital.de/receive/BachDigitalWork_work_00001315?lang=en).⁶

Two other New Year's works with connections to Bach are traced to Cöthen but have no texts or music: BWV Anh. 8 (no title, lost, possibly 1723), possibly identified with BWV 184a; "Libretto and music are lost; only the cover of the presentation print exists (Bachhaus Eisenach); it is dedicated to Leopold and Friederica Henrietta of Anahlt-Bernberg, his first wife (https://www.bach-digital.de/receive/BachDigitalWork_work_00001316?lang=en), and BWV Anh. 197, incipit "Ihr wallen den Wolken," 1717-1723, New Year's (lost, cited in Johann Nikolaus Forkel estate 1819, https://www.bach-digital.de/receive/BachDigitalWork_work_00001508?lang=en).

Addendum: Bach's Leipzig service originally was to have commenced on Pentecost Sunday, 16 May 1723, and Bach prepared and scheduled performances of Cantatas 59, 173 and 184 for the three-day Pentecost feast, "all were parodies of vocal works from the Cöthen period," says Christoph Wolff, ⁵ and were presented a year later. Meanwhile, the original inauguration date was moved two weeks later, to the 1st Sunday after Trinity with new Cantata 75. The following areparodies from Cöthen models, says Wolff (Ibid.: xxiv): BWV 75/3,5, BWV 69a/1, :"with its typically Cöthen duet formations (Based on BWV Anh. 5?)," and Town Council Cantata 119/1, 3, 5, and 7 (https://www.youtube.com/watch?v=Zx1LwDNfbRE). Also confirmed are Cöthen performances of Weimar Cantatas 21, Day of repentance, 1 May 1721, and Cantata 199, c.1720.

Cöthen Court, Bach's Experience

During Bach's time, institutions continued to shape and sustain people's lives, with the church losing some of its pervasive impact while the courts and sovereignty sustained them and governments opened up new vistas of commerce and enterprise while schools and universities fostered learning and technology. Germany after the devastating Thirty Year' War (1618-1648) particularly prospered under the Protestant ethic and the spirit of Capitalism, as chronicled in Max Weber's studies. "Courts were of central importance to J. S. Bach," says Andrew Talle,⁷ "particularly in the middle part of his career (1708-1723) while he resided at the courts" of Saxe-Weimar and Anhalt-Cöthen under Prussian Court jurisdiction. Musically, Bach at the latter flourished under the patronage of Prince Leopold as Capellmeister, a title he retained until the prince's death in 1728 while securing this title again from the court of Saxe-Weißenfels in 1729 and from the Saxon Court in Dresden in 1736, where he created some 20 serenades, drammi per musica and other homage tributes through its patronage (http://unichor.uni-leipzig.de/index.php?page=festmusiken). In Cöthen, Bach prospered, fulfilling his duties, traveling to Berlin, Carlsbad, Hamburg, and Dresden, and starting a second family. While the record is even more poorly documented than in Weimar and his personal life "equally opaque to historians," says Talle (Ibid.: 201), Bach focused on developing instrumental music, enhancing his reputation as an organist and organ builder, and perfecting his compositional art which culminated in Leipzig as he achieved his calling of a "well-regulated church music to the glory of God."

This facet of vocal music composition in Cöthen, while restricted to the opera-driven serenade, forerunner of the drammi per musica, enabled Bach to create a substantial corpus of utility music tied to specific occasions and to develop originality and take this music "out of public utility after their performance in order to be able to adapt them [through parody] for use at another time and place, should the need arise," observes Andreas Bomba.⁸ Although Bach's extant Cöthen serenades had no liturgical purpose, these poetic texts mostly of Hunold/Menantes, have spiritual qualities, says Marcus Rathey,⁹ which enabled Bach to transform them into sacred works for liturgical and occasional use in Leipzig: << The court in Cöthen, where Johann Sebastian Bach worked between 1717 and 1723, is frequently viewed as an “almost exclusively secular environment” (John Elliot Gardiner). Even though Bach did not compose religious works for the liturgy at Cöthen, it would be wrong to view the Calvinist court as secular, since the rejection of liturgical music does not automatically constitute a secular environment. Indeed, the court in Cöthen was not more or less religious than the Lutheran court in Weimar, where Bach had served previously. Although Calvin had not permitted concerted music in the liturgy, musical activities outside the service were not only encouraged but were part of a proper Christian life. This is demonstrated by the cantata texts Bach set for the Cöthen court: While Bach’s secular cantatas for Leipzig rarely mention the Christian God, the Cöthen cantatas frequently invoke both God and Christ, conforming to the Calvinist ideal of proper music for the domestic sphere.>>

Cöthen Homage Serenades

The following serenades were presented in Cöthen (date, title, status):

1 Jan. 1718, New Years, no documentation.
Dec 10, 1718, birthday, BWV 66a, "Der Himmel dacht auf Anhalts Ruhm und Glück", music lost.
Jan 1, 1719, New Year, BWV 134a, "Die Zeit, die Tag und Jahre macht," music extant in BWV 134, http://bach-cantatas.com/BWV134-D5.htm.
10 December 1719, birthday, "So bringet, Durchlauchtigster, Glorwüdger Leopold," Menantes' ode of 80 stanza alexandrines (no musical setting)
January 1, 1720, New Year BWV Anh 6, "Dich loben die lieblichen Strahlen der Sonne"
Dec. 10, 1720, Birthday, BWV Anh. 7, "Heut ist gewiß ein guter Tag" (Today indeed is one fine day, by Ambrose), http://www.uvm.edu/~classics/faculty/bach/XII.html, https://www.bach-digital.de/receive/BachDigitalWork_work_00001315?lang=en)
January 1, 1721, New Year, 184a, no original text, instrumental parts only (2 flutes, strings, Bc), music survives as BWV 184, http://www.bach-cantatas.com/BWV184-D4.htm.
Dec. 10, 1721, birthday; Dec. 11, marriage to Friederica (vocal or instrumental, Bach paid Carmina printing, Smend, Ibid.: 91).
January 1, 1722, New Years (Bach paid Carmina printing).
Dec. 10, 1722, Birthday, BWV 173a "Durchlauchtster Leopold" (Illustrious Leopold, unknown poet), https://www.bach-digital.de/receive/BachDigitalWork_work_00000211?XSL.Style=detail, http://www.uvm.edu/~classics/faculty/bach/BWV173a.html; score survives https://www.bach-digital.de/receive/BachDigitalSource_source_00000865, parody overlay BWV 173 (http://www.bach-cantatas.com/Texts/BWV173-Eng3.htm); repeat 1727, 1731.
January 1, 1723, New Year, BWV Anh.8 (no title, lost), possibly identified with BWV 184a; "Libretto and music are lost; only the cover of the presentation print exists (Bachhaus Eisenach); it is dedicated to Leopold and Friederike H. von Anhalt Köthen (https://www.bach-digital.de/receive/BachDigitalWork_work_00001316?lang=en).
January 1 or later 1723, BWV 194a, ?"Hochster-wünschtes Freudenfest" (no text).
1 January, ?1717-1723, New Year's, BWV Anh. 194, "Ihr wallen den Wolken" (lost, cited in Forkel estate 1819. https://www.bach-digital.de/receive/BachDigitalWork_work_00001508?lang=en).

Sacred Cantatas

Sacred cantatas Bach may have presented in Cöthen on Prince Leopold's birthday, December 10, BWV Anh. 5, are documented for 1718, and possibly for New Year's 1723, BWV 190 early version, according to Smend.

While a list of cantata sources, based on compositional and textual features, is possible, no actual, original texts have been found, although they may have involved poets Hunold-Menantes, Johann Friedrich Helbig at Saxe-Eisenach (http://www.bach-cantatas.com/Lib/Helbig.htm), and/or Georg Christian Lehms at Darmstadt (https://en.wikipedia.org/wiki/Georg_Christian_Lehms), as well as sources at the courts of Saxe-Gotha (http://www.bach-cantatas.com/Lib/Witt-Christian-Friedrich.htm) and Saxe-Weißenfels (https://en.wikipedia.org/wiki/Saxe-Weissenfels), and librettist Erdmann Neumeister (https://en.wikipedia.org/wiki/Erdmann_Neumeister), all of with whom Bach had connections.

December 10, 1718, BWV Anh. 5, "Lobet den Herrn, alle seine Heerscharen" (Praise ye tLord, all ye of his great armies); http://www.bach-cantatas.com/BWVAnh5.htm, http://www.uvm.edu/~classics/faculty/bach/XIII.html.
January 1, 1723, New Year's Cantata BWV 190, "Singet dem Herrn ein neues Lied!" (Sing to the Lord a new song!); Movements 1, 3-5 (http://www.bach-cantatas.com/Texts/BWV190-Eng3.htm); Bach scholars have suggested that the chorus was derived from BWV Anh. 5, Psalm 119:175, and may have influenced the chorus "Gloria in excelsis Deo," in the B-Minor Mass.

Undated

Cantata 32, "Liebster Jesu, mein Verlangen" (Dearest Jesus, my desire), a Soul-Jesus (soprano-bass) dialogue; Movements 1, 3-5 (http://www.bach-cantatas.com/Texts/BWV32-Eng3.htm).
Cantata 59, "Wer mich liebet, der wird mein Wort halten" (Who loves me will keep my word, John 14:23): Movements 1, 4 (http://www.bach-cantatas.com/Texts/BWV59-Eng3.htm).
Cantata 69a, "Lobe den Herrn, meine Seele," (Praise the Lord, my soul, Psalm 103:2), Movements 1, 3-5 (http://www.bach-cantatas.com/Texts/BWV69a-Eng3.htm).
Cantata 75, "Die Elenden sollen essen" (The wretched shall eat); Movements 3, 5 (http://www.bach-cantatas.com/Texts/BWV75-Eng3.htm).
Cantata BWV 97, "In allen meinen taten" (In all my doings); Movements 1, 4 (http://www.bach-cantatas.com/Texts/BWV97-Eng3.htm).
Cantata 119, "Preise, Jerusalem, den Herrn" (Praise, Jerusalem, the Lord); Movements 1, 3, 5, 7 (http://www.bach-cantatas.com/Texts/BWV119-Eng3.htm).
Cantata 193a, "Ihr Häuser des Himmels, ihr scheinenden Lichter" (Ye hoof heaven, ye shining lights); Movements 1, 3, 5 (http://www.uvm.edu/~classics/faculty/bach/BWV193a.html).

FOOTNOTES

¹ Events confirmed in Robin A. Leaver, Part 6, Chronology, Chapter 20, "Life and Works 1685-1750," The Routledge Research Companion to Johann Sebastian Bach (London, New York: Routledge, 2017: 497), also other details, BCW "Guide to Bach Tour Köthen (Anhalt)," http://www.bach-cantatas.com/Tour/Kothen.htm.
² Smend, Friedrich. Bach in Köthen, 1951; English edition ed. & revised Stephen Daw (St. Louis: Concordia Publishing, 1985: 34).
³ Source: Siegbert Rampe, "J. S. Bach: The Early Overtures," http://www.bach-cantatas.com/Performers/Rampe.htm, reference Alfred Dürr Cantatas of JSB: 729, 789), initial choruses of Cantatas BWV119 (1723) and BWV97 (1734), possibly derive from earlier instrumental overtures and concertos.
⁴ Richard D. P. Jones, The Creative Development of Johann Sebastian Bach, Vol. 2, 1717-1750, Music to Delight the Spirit (Oxford University Press, 2013: 107f).
⁵ Christoph Wolff, Johann Sebastian Bach: The Learned Musician, Updated ed. (New York: W. W.Norton & Company, 2013: xxiiiff).
⁶ Source: William L. Hoffman, "Bach’s Dramatic Music: Serenades, Drammi per Musica, Oratorios," http://www.bach-cantatas.com/Articles/HoffmanBachDramaII.htm.
⁷ Andrew Talle, "Cöthen: 1717-1723," Chapter 8, Courts, Routledge Research Companion to Johann Sebastian Bach: 198ff, https://books.google.com/books?id=SCklDwAAQBAJ&pg=PA199&lpg=PA199&dq=Rutledge+Research+Cothen+Andrew+Talle&source=bl&ots=Qahi5pe_Nu&sig=jLr1nh2by5_imZwGuysI6nsyXSU&hl=en&sa=X&ved=0ahUKEwi4mJOb_-DbAhXI44MKHRaSD5IQ6AEILzAB#v=onepage&q=Rutledge%20Research%20Cothen%20Andrew%20Talle&f=false);
⁸ Andreas Bomba, "Congratulatory and Homage Cantatas," Hänssler Edition Bachakademie (http://bach-cantatas.com/Performers/Rilling-Rec6.htm#L9: 49).
⁹ Marcus Rathey, "The 'Theology' of Bach’s Cöthen Cantatas: Rethinking the Dichotomy of Sacred versus Secular," Journal of Musicological Research, Volume 35, 2016/4: 275-298, https://www.tandfonline.com/doi/abs/10.1080/01411896.2016.1228358.

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To Come: Cöthen Serenades BWV 66a, 134a, 173a, and 184a.