With the death of Alfred Dürr () in 2011, Hans-Joachim Schulze () became the leading Bach authority.? The magisterial Dürr had helped establish the dating of Bach's vocal works beginning in 1950, edited the Neue Bach Ausgabe (works catalogue) and the Bach-Jahrbuch annual essay publication (1953-74), and contributed numerous essays (see Bach Bibliography¹) the eclectic, versatile Schulze writes for both the scholar and general reader (see his Bach Bibliography²), while with "Schulze, text and music inherently belong together" in all Bach's vocal music, observes James A. Brokaw II in his "Translator's Note" to his selection of 36 Schulze essays just published,² (), a best-of Bach collection.? All 225 Bach sacred and secular works will be found at Commentaries on the Cantatas of Johann Sebastian Bach:³ An Interactive Companion by Hans-Joachim Schulze and translated by James A. Brokaw II, , .

Dürr, Schulze Publications

Alfred Dürr⁴ published five editions of his studies of Bach's cantatas in German through 1984, which were translated (and updated) as The Cantatas of J. S. Bach and published in 2005 by Richard D. P. Jones,⁵ who is now best-known for his two volumes of The Creative Development of Johann Sebastian Bach.? Schulze is best known for the Bach Compendium (BC) Analytisch-bibliographisch Repertorium der Werke Johann Sebastian Bach,⁶ co-authored with Christoph Wolff, a multi-volume Bach works chronological catalogue of the vocal works indexed by vocal type, liturgical year service, chronologically composed, and assigned new BC numbers (). ).? The four volumes begin with the sacred cantatas "A" (), and end with "H,"" Vocal Chamber Music () and the two succeeding volumes not published, J, Free Organ Works, and K, Chorale-based Organ Works, with designated works BC assigned numbers (see BCW Bach Organ Works, category BC and Will2 [works catalogue BWV 2 pages], see ).? The new BWV3 works catalogue () replaces the BC and converts the new BC numbers to BWV decimal, such as the five versions of the St. John Passion, BWV 245 to .1 through .5 (BBWVV3:? 332). ?

Commentaries on the Cantatas of Bach

Brokaw in Commentaries on the Cantatas of Johann Sebastian Bach includes his translations of all the texts, interspersed with his commentary, especially the poetic free poetry, some of which is parody (new text underlay).? He seeks to preserve the original German text layout while translating Schulze's extensive biblical quotations, "especially in order to make clear the relationship between cantata text and its biblical origin where it applies," says Brokaw (Ibid.:? xiv).? He cites his reliance on Dürr's The Cantatas of J. S. Bach and the Michael Marissen & Daniel Melamed? website, .? Brokaw's commentary is co-published with the Windsor & Downs Press and sponsored by the Ruth and Noel Monte Funds of the American Bach Society.? Brokaw completed his dissertation, Techniques of Expansion in the Preludes and Fugues of J. S. Bach, in 1986 at the University of Chicago. An active member of the American Bach Society as well as the Neue Bach Gesellschaft, Dr. Brokaw is well known as a reviewer and translator and is the author of several articles on Bach's keyboard and organ works.? << Schulze (b1934, ) brings a half-century of Bach studies to the fore in his monograph of the cantatas in Die Bach-Kantaten: Einführung zu s?mtlichen Kantaten Johann Sebastian Bachs. As an introduction to all Bach's extant cantatas, it covers in narrative style ( ) the following cantata categories: A. all the extant sacred cantatas for Sundays and feast days of the church year, including those without service designation (BWV 117, 192, 97, 100, 200, 1045, 50); B. scared special service occasions (town council elections, weddings, grief/memorial services, repentance, organ dedication); D. oratorios (extended cantatas); and G. worldly cantatas for courts, nobility, bourgeoise. These cantata categories are based on the Bach Compendium (BC, ) that Schulze and Christoph Wolff compiled and edited (1985-89), which is found in Die Bach-Kantaten Anhang (Appendix) with Anmerkungen (Remarks) on the 226 cantatas discussed (Ibid.: 739ff) of bibliographical notes citing the individual cantatas and references by BC number. This is followed by the Literature with abbreviations (Ibid.: 746), Personnel Names (Ibid.: 747ff), Cantata Titles (Alphabetical, Ibid.: 754ff), and a concluding Konkordanz cross-referenced from BWV to BC numbers (Ibid.; 759f; BWV 1-215, 248, 249, 1045, 1083; Anh. 10-12, 18)>> (source, ).

Schulze also was the most significant contributor to the collection, Bach Dokumente, vols. 1-3, 5 ().? In the field of Bach cantatas,⁷ the most studied and written-about Bach genre, Schulze ranks with other German Bach scholars (3. Cantata Monographs) Werner Neumann (3.2), Christoph Wolff (3.7), Konrad Küster (3.8), and Alfred Dürr (3.9). Schulze is probably one of the most traditional of Bach scholars, grounded in source-based studies, critical commentary, and science-based conclusions while avoiding overt speculation. <<Various still-controversial topics were outlined in Schulze's 2004 essay, "Bach in the Early Twenty-first Century,"⁸ a cautionary assessment of Bach scholarship and challenges in the future. Schulze seems skeptical of the OVPP (one-voice-per-part) concept, the "current vogue for 'updating' and reinterpreting" works, the failure to use both the "why" and "how" (motive and method) questions in studies, the search for hidden meanings such as "abstract numerical relationships," the reconstruction of lost works such as the St. Mark Passion, BWV 247, and equal temperament. Instead, Schulze advocates "a close collaboration of scholarship and practice.">>? Some Bach scholars have long denigrated the translations of Bach's leading librettist, Picander, (), citing his lack of scholarly experience and theological training, and his emphasis, particularly in sacred music of sorrow, with graphic pietistic images, and in celebratory secular drammi per musica, with obsequious praises of their subjects ().? While some scholars also denigrate Picander's parody (new text underlay) of Bach works, Schulze finds the parody versions meaningful "when it is useful to understand the libretto," the latest listed in BWV 3 such as BWV 1158, 1162 (Ibid.:? 231; see ), (Ibid.:? xiv). ?

Bach-Facetten Essays

Schulze impressive credentials include a 2017 published collection of 60 essays in seven topical chapters, Bach-Facetten.⁹? <<While Schulze has been quite conservative in his overall approach to Bach scholarship, one topical area in which he particularly has furthered Bach studies is parody or new-text underlay in Bach-Facetten, Section 4, Texts and Parodies, Chapter A, "Bachs Parodieverfahren" (Bach's Parody Proceedings), which "is an overview of the different types of parodies in Bach's vocal compositions," says reviewer Markus Rathey,¹⁰ and "The text is one of the standard resources for every student of Bach's parody technique." A most recent of Schulze's writings on parody is "Parody and Text Quality in the Vocal Works of J. S. Bach."¹¹? Parody challenges faced Bach scholarship in the 19th century, notably the Romantics Bernhard Max (1828), and Albert Schweitzer (1908), says Schulze (Ibid.; 167). While the "extensive application of the parody procedure is characteristic" of Bach, this extensive application is "a problem because the relationship between text and music is often significantly damaged."¹² "This problem is exacerbated by the unparalleled inferiority of the texts, which is widely observed, and by the degree of incompetence of Bach's librettists."? "Future generations should not be burdened with these 'heinous German sacred texts (in the words of Carl Friedrich Zelter []), and certainly not with such texts that resulted from the parody procedure" which in self-borrowing can be considered merely a lazy person's self-plagiarism." ?

Previously, Schulze points out, he had shown that these sacred texts "usually involve a well-balanced interplay of theological content, linguistic quality, and suitability for musical setting," often showing "extensive knowledge of the Bible and hymnal." Bach's parody is explored in the process of "en-block" wholesale re-texting from K?then profane serenades to Leipzig first cycle feast-day cantatas (BWV 66, 134, 174, 185, 194), while preserving much of the original text, possibly by Bach himself, thus causing him to abandon "the carelessly entered terrain of the en-block parodies," says Schulze (Ibid.: 175). "With other approaches, higher-quality standards could be recognized," Schulze acknowledges>> (source, :? section "Parody Process, Criticism").? Schuze has two essays in English in the periodical BACH, Journal of the Riemenschneider Bach Institute:? "The Parody Process in Bach's Music: An Old Problem Reconsidered," is an historical and topical study of Bach's motive, method and opportunity, and "Bach's Secular Cantatas: A New Look at the Sources," examines the challenges of converting profane works to sacred pieces (see , sections "Parody Challenges" and "Secular Cantatas Parodied as Church Works").? These two monographs put Schulze in league with Dürr and the other leading Bach scholar, Christoph Wolff (, Bach Bibliography.¹³ ?

Other Schulze Essays

In his monograph, Die Bach-Kantaten, Schulze cites only those works where an extant secular to sacred Bach realization is found: BWV 30a, 36 (a-c), 173a, 184a, 198, 213-215, 208, 249. Thus, the various versions of BWV 249 are discussed while there is no mention of the parodied movements of BWV 198 realized as the core movements in BWV 247 since, presumably, no source-critical materials are extant. Also lacking in Die Bach-Kantaten is any citation of the pages where the works are discussed, including no mention either in the Anmerkungen (Remarks, 739ff) or the Konkordanz (759f). Two other cantata articles in English are "Bach the Composer" and "Poetry and Poets," in The World of the Bach Cantatas: Early Sacred Cantatas, from Arnstadt to C?then, ed. Christoph Wolff (New York: W. W. Norton, 1995: 93ff, 101ff; ).? The other two volumes of this anthology are unavailable in English where Schulze has four articles:? Vol. 2, the Leipzig church cantatas, "Texte und Textdichter" (Text and Text Poet" and "Bachs Aufführungsapparat — Zusammensetzung und Organisation" (Bach's Performance Apparatus — Composition and Organization), and Vol. 3, the secular cantatas, "Adeliges and Bürgerliches Mazenatentum im Leipzig" (Noble and Bourgeois Patronage in Leipzig) and "Dichter und Dichtungen der Weltlichen Kantaten Bachs" (Poets and Poems from Bach's Secular Cantatas), see .

ENDNOTES?

¹ Alfred Dürr, Bach Bibliography, .?

² Schulze Bach Bibliography,? .

³ Hans-Joachim Schulze, Commentaries on the Cantatas of Johann Sebastian Bach:? A Selective Guide, trans. James A. Brokaw II (Urbana:? University of Illinois Press, 2024: xii); .?

⁴ Alfred Dürr, The Cantatas of J. S. Bach with their librettos in German-English Parallel Texts, rev. and trans. Richard D. P. Jones (Oxford GB:? Oxford University Press, 2005); , ; Dürr's Bach Bibliography is found at .

⁵ Richard D. P. Jones, The Creative Development of Johann Sebastian Bach:? Music to Delight the Spirit; Volume I: 1695-1717 (Oxford University Press, 2013, ); Volume II, Volume II: 1717-1750 (Oxford University Press, 2015 ().

⁶ Hans-Joachim Schulze, Christoph Wolff, Bach Compendium (BC) Analytisch-bibliographisch Repertorium der Werke Johann Sebastian Bach (Leipzig:? Edition Peters, 1985-1989); .

⁷ Bach Cantatas, see "Bach Cantatas, A Selected, Annotated Bibliography, Part 1," BACH CANTATAS: SELECTED, ANNOTATED BIBLIOGRAPHY; , updated.?

⁸ Hans- Joachim Schulze, Afterword: "Bach in the Early Twenty-first Century," in The Worlds of Johann Sebastian Bach, ed. Raymond Erickson, Aston Magna Academy Book (New York: Amadeus Press, 2009: 291ff); trans. and footnotes, Raymond Erickson, from "Bach at the turn of the twenty-first century," in Bach Studies from Dublin. eds. Anne Leahy, Yo Tomita (Dublin: Four Courts Press, 2004: 247ff); cited in "Compositional Choices: Reception History," "21st Century Perspectives," . A select few of Schulze's writings are found only in English

⁹ Hans-Joachim Schulze, Bach-Facetten: Essays - Studien - Miszellen (Bach Facets; Essays, Studies, Miscellaneous; Leipzig: Evangelische Verlagsastalt, 2017); description, . ?

¹⁰ Markus Rathey, "Hans-Joachim Schulze, Bach-Facetten," book review in Bach, Journal of the Riemenschneider Bach Institute (Berea OH: Vol. 50, No. 1 (2019), 121); description contents, see: ; Schulze's article, "Bachs Parodieverfahren" (Bach's Parody Proceedings), first appeared in Die Welt der Bach Kanaten (The World of the Bach Cantatas), ed. Christoph Wolff; Vol. 2, Johann Sebastian Bachs weltliche Kantaten (secular cantatas; (Stuttgart/Kassel: Metzler/B?renreiter, 1997: 167-87); Bach-Facetten will be discussed soon on the BCW BML (Bach Cantatas Website, Bach Mailing List).?

¹¹ Hans-Joachim Schulze, "Parody and Text Quality in the Vocal Works of J. S. Bach," trans. Reginald L. Saunders, in Part III, Bach's Self-Modeling: Parody as Compositional Impetus, Compositional Choices and Meaning in the Vocal Music of J. S. Bach, ed. Mark A. Peters & Reginald Sanders; Festschrift for Don O. Franklin, the eighth Contextual Bach Studies, series ed. Robin A.Leaver (Lanham MD: Lexington Books, 2018: 167-76), source, "Parodie und Textqualit?t in Werken Johann Sebastian Bachs," in Messe und Parodie bei Johann Sebastian Bach, Greifswalder Beitr?ge zur Musikwissenschaft 12; ed. Peter Tenhaef, Walter Werbeck (Frankfurt am Main: Lang., 2004), 49-57.?

¹² See: "Beyond Analytical Musicology: Bach's Self-Modeling": "Self-Modeling: Parody as Compositional Impetus," .

¹³ Christoph Wolff, Bach Bibliography, . ?

__________

To come:? End of first cantata cycle: Pentecost Festival, Trinityfest

--
William Hoffman

In the section, "Leipzig Good Friday Vespers, add the following: ?

Telemann's Brockes Passion, TVVW 5:2, was presented on Good Friday, 26 March 1717, at the Leipzig Paulinerkirche, the same day as Bach's lost Weimar-Gotha Passion, BWV deest, .? It was the first progressive oratorio Passion to be presented in Leipzig, alternating between the Thomas and Nikolai churches, and was followed in 1722 by the first Passion oratorio, St. Mark, by Johann Kuhnau, Bach's predecessor and it begun a tradition Bach observed until his death in 1750.? Both the Telemann and Handel Brockes Passion settings were found in the Thomas School music library but were lost.

--
William Hoffman

Not that far out, really. The N?geli clue was a good one, because Beethoven writes to him on 9 September of 1824 asking to subscribe to N?geli's proposed publication of the Mass in B minor (though he says he will pay whatever it costs, N?geli disappoints him). So this notation is not a reminder to pack the Mass, since he doesn't have it, but to write to N?geli in Switzerland. And SSATB soloists corresponds to his description of it as for five voices. Many thanks for the assist!

Mark

Beethoven in one of his conversation books (Heft 71 at 19v-20r) makes a list of musical scores to take with him to the country for the summer of 1824. Among them are CPE Bach's Klavierschule and Passion music.

Also on the list of scores to take along is the following mysterious entry:

+Joh. Sebatins [sic] Bach Fünfstim[mige] Me?e an schweiz.

The German editors of the Conversation Books were unable to determine what this could be referring to. Perhaps the long reach of the Bach Mailing List can provide a clue as to what this "five-voice Mass 'an schweiz'" might be. Any ideas? Is this a misattribution? The next two items on the list, for reference, are Mozart works, the score to Abduction from the Seraglio and his Requiem. Other items on the list are Haydn's Paukenmesse and Seven Words, as well as compositions by Albrechtsberger.

Many thanks,

Mark S. Zimmer

The final phase of Bach's first church year cycle in 1724 began to embrace a trilogy of three events with distinctive Johannine theology:? the Passion oratorio at the Leipzig Good Friday vespers concluding Holy Week; the three-day Easter Feast embracing the Resurrection, Walk to Emmaus, and the Upper Room, as well as the first two Sundays after Easter, Quasimodogeniti () and Misericordias Domini (); and the Johannine Jesus Farewell Discourse to His Disciples involving eight services from Jubilate Sunday to Trinity Sunday (), omitting the feast of the Ascension ().? Eric Chafe's monograph, J. S. Bach's Johannine Theology:? The St. John Passion and the Cantatas for Spring 1725,¹ covers the music of the Christological period in Bach's first cycle of 1724, as well as in 1725, involving 14 extant liturgical works (BWV 245.2, 249.3, 6, 42, 85; 103, 108, 87, 128; 183, 74, 68, 175, 176), the last nine being a cantata mini-series commissioned in 1724 for Leipzig poetess Christiane Mariane von Ziegler () to texts of John's gospel, including the Chapter 16 Jesus Farewell Discourse to His Disciples.? Lacking was an unknown cantata for Easter Tuesday (possibly Cantata 158 or repeat of chorale Cantata 4).? Another mini-cycle was the Easter season cantatas in 1724-1725 with a special movement structure (see below, paragraph beginning "In 1724, Bach had as back-up texts . . . ."?

?Easter-Pentecost 1724

In his compositions, particularly the long and complex St. John Passion, BWV 245.1, Bach utilized a variety of techniques and resources beyond the traditional scope of an isolated study, "considering its meaning from a variety of musical and historical standpoints," says its description in footnote 1.? Chafe uses "a multi-layered approach to religion in Bach's compositional process,"focusing on "two aspects of Bach's theology: first, the specific features of Johannine theology, which contrast with the more narrative approach found in the Synoptic Gospels (Matthew, Mark, Luke); and second, contemporary homiletic and devotional writings - material that is not otherwise easily accessible, and less so in English translation.? Bach's non-synoptic St. John Passion emphasizes the positive concept of the classic Christus Victor ransom theory of atonement, as contrasted with the synoptical satisfaction theory that Jesus' sacrifice satisfies the Father's requirement in order to free mankind from death.? Thus Christ on earth is both, simultaneously, fully God and fully man, as espoused by Martin Luther in his Theology of the Cross with divine revelation, in contrast to the human Theology of Glory, where Jesus is punished by man, and God's demand or justice is fulfilled.? Bach’s original choice to use John’s non-synoptic version of the Passion in 1724 involved three factors. Lutheran tradition of the readings of the four gospel accounts during Holy Week prescribed John Chapters 18 and 19 to be read on Good Friday. John’s Passion account is the shortest, requiring the least musical treatment and with Matthew is the most-often treated musically in Protestant Germany. In contrast to the three synoptic readings from Matthew, Mark, and Luke, John’s Lutheran theological emphasis on Christ’s sacrifice and death was the Christus Victor concept of atonement rather than the Anselm satisfaction concept.? During the quarter century following its premiere during the Good Friday vespers, this dramatic, gospel-driven Passion oratorio, underwent significant changes in its five versions. ?

Chorales in Passions, Good Friday Vespers

The initial almost-totally John's Passion gospel version of 1724 in Chapters 18 and 19, has two additional brief, dramatic synoptic gospel citations:? Peter weeping bitterly following his denial as a disciple of Jesus (Mt. 26:75) and the rending of the veil of the temple at the earthquake following Jesus' death (Mt. 27:51-52).? Besides the compatibility with the chorale cantata cycle, Bach chose chorales for other reasons.? Chorales played a central role in Bach’s sacred music, including the extensive use of plain chorales in his Passions (10 in John, 12 in Matthew and 16 in Mark). Chorales also are used in lyrical choruses and interpolated into arias in the St. John and St. Matthew Passions as well as chorale tropes in recitative movements in nine Cycle II chorale cantatas, mostly during early-middle Trinity Time . Further, The Good Friday Passion vesper service order is vested with Passion chorales:
Ancient Passion hymn Da Jesus an dem Kreuze stund ("There Jesus on the cross hung");
Part 1 of the Passion;
Hymn O Lamm Gottes unschuldig ("O Lamb of God, guiltless"), the text being the metrical version of Agnus Dei (Lamb of God) written by Nikolaus Decius (1531);
Pulpit hymn Herr Jesus Christ, dich zu uns wend ("Lord Jesus Christ, Thee to us turn around");
Sermon;
Part 2 of the Passion;
Motet such as Jacob Gallus' Ecce quomodo moritur justus ("Behold how dies the righteous");
Passion Collect intoned;
Rinhart's hymn Nun danket alle Gott ("Now thank we all Our God"); Blessing (Benediction).

Easter Season Cantata Adjustments, 1724-25

Bach intended to provide a new, synoptic Passion oratorio in 1725 but lacked even an acceptable text draft that included madrigalian interpretive texts for the choruses, arias, and ariosi, as well as the appropriate Passion chorales, built around the gospel text.? The ever-resourceful, flexible and imaginative Bach conceived a tripartite grand-design within the context of a Johannine drama that he had outlined in 1724 and would be able to fulfill in 1725 when he added two additional, existing Passion choruses and three newly-composed arias with "satisfaction"-type texts in the St. John Passion, BWV 245.2, second version.? At the same time in 1725, Bach was able to integrate the new St. John Passion into the context of his chorale cantata cycle while creating an Easter Oratorio in the Italian musical style with a text of Picander (their first actual collaboration), and completing the nine Johannine cantatas from? Jubilate (3rd Sunday after Easter) to the Trinity Sunday Festival (BWV 103*, 108*, 87*, 128, 183*, 74*, 68, 175, 176) with five on the farewell discourse (chapters 16, and 14, in asterisk*).? The first two Sundays after Easter also used the gospel of John, Quasimodogeniti (, John 20:19-31, Christ appears to the Twelve, which also was the gospel in Bach's day for Easter Tuesday, https://bach-cantatas.com/Read/Easter-Tuesday.htm), and Misericordias (John 10:11-16, I am the Good Shepherd, ). ?

Easter Season Reperformances, Parodies

Bach's work plan for Easter-Pentecost 1724 was to compose mostly new works, except for reperformances at Jubilate (3rd Sunday after Easter () with? Cantata 12, "Weinen, Klagen, Sorgen, Zagen" (Weeping, wailing, grieving, fearing, Z. Philip Ambrose trans; ), and Pentecost Sunday double bill (), Cantatas 172, "Erschallet, ihr Lieder, erklinget, ihr Saiten!" (Resound now, ye lyrics, ring out now, ye lyres!, Ambrose trans.; ), and Cantata 59, "Wer mich liebet, der wird mein Wort halten [I]" (He who loves me will keep my commandments, Ambrose trans.; ), and three parodies (new text underlay) from C?then vocal serenades for the last three feast days:? 1. Pentecost Monday (), Cantata 173, "Erh?htes Fleisch und Blut" (Exalted flesh and blood, Ambrose trans.; ); 2. Pentecost Tuesday (), "Erwünschtes Freudenlicht" (O welcome light of joy," Ambrose trans.; .); and 3. Trinity Sunday double bill (), Cantata 194, "H?chsterwünschtes Freudenfest" (O most lovely feast of joy, Ambrose trans.; ), and repeat Cantata 165, "O heilges Geist und Wasserbad" (O Holy Spirit's water bath, Ambrose trans.; ). ?

In 1724, Bach had as back-up texts for:? 1. Easter Monday chorus Cantata 6, ² "Bleib bei uns, denn es will Abend werden" (Bide with us, for it will soon be evening, Lk. 24:29, Ambrose trans.; ), 2. Easter Tuesday, possibly pasticcio solo Cantata 158, "Der Friede sei mit dir" (May peace now be with thee, Luke 24:36b, Ambrose trans.; ; possibly Picander text; 3. Quasimodogeniti (1st Sunday after Easter), chorus Cantata 42, "Am Abend aber desselbigen Sabbatas" (The evening, though, of the very same Sabbath, Jn. 20:19, Ambrose trans.; ), parody of C?then vocal serenade (Hunold-Menantes text) BWV 66a, “Der Himmel dacht' auf Anhalts Ruhm und Glück” (Since heaven cared for Anhalt's fame and bliss, Ambrose trans.; ; 4. Misericordias (2nd Sunday after Easter), solo Cantata 85, "Ich bin ein guter Hirt" (I am a shepherd true, Jn. 10:12, Ambrose trans.; .? Cantata 85 "is the third of three cantatas on consecutive feast days (the others are BWV 6 and 42) that form a coherent sequence, each a fresh response to the increasing anxiety of the disciples, then and now, at life in the world without Jesus’ physical presence. All three feature Johannine themes in contemporary texts, possibly by a single author, compiled the year before and intended by Bach for his first Jahrgang of 1723/4. This had to be put on hold, perhaps as a result of the colossal effort which went into the completion of the St John Passion for Good Friday 1724, obliging him to turn to pre-existing material for some of the [feast day] cantatas in that post-Resurrection season.? In his notes in Figure I.3 (p. 46) The Passion? and cantata performances of spring 1725, Chafe says that all three Cantatas 6, 42, and 85 were "new: text possibly written in 1724."? The Johannine cantatas for Cantate to Exaudi Sundays and Trinityfest in 1724 involve four new works:? Cantate, Cantata 166, "Wo gehest du hin?" (Whither goest thou?, Jn 16:5, Ambrose trans.; .); Rogate, Cantata 86, "Wahrlich, wahrlich, ich sage euch" (Truly, truly, I say to you, Jn. 16:23, Ambrose trans.; ); Ascension, Cantata 37, "Wer da gl?ubet und getauft wird" (Who believeth and is baptized, Mk. 16:16; Ambrose trans.; ); Exaudi, Cantata 44, "Sie werden euch in den Bann tun (I)" (In banishment they will cast you, Jn. 16:2, Ambrose trans.; ).? A mini-cycle is found using Alfred Durr's Structure C (usually 6 movements) biblical text-aria-chorale-recitative aria-chorale; BWV 144, 166, 86, 37, 44 for Septuagesima, Cantate Sunday (Easter 4), Rogate Sunday (Easter 5), Ascension, Exaudi (Easter 6). The C structure Cantatas BWV 37, 44, 86, and 166 as well as Cantatas 67 (B), 75 and 76 (2 parts), 81(solo Epiphany 4), 104 (A), 154 (solo Epiphany 1), and 179 (A), are “hypothetically” attributed to Weiss, says Dürr (Ibid.: 27f). Durr then suggests “Bach compositions that belong to this group [based on form] are divided between two cycles”: Cycle 1, Septugesima (BWV 144, C), Purification (Anh. 199 double) and Easter 4 (Cantate) to Easter 6 (Exaudi), BWV 166 (solo), 86 (C), 37 (C), and 44 (C) and Cycle 2, Easter Monday to Second Sunday after Easter (Misericordias Domini), and Reformation Festival, BWV 6 (C), 42 (solo), 85 (C), and 79 (C).

Today's Three-Year Lectionary for Easter Season

Beyond Bach's one-year lectionary (), Wikipedia for the Easter Season from the First Sunday after Easter (Quasimodogeniti) to Sunday after Ascension (Exaudi) offers a variety of pieces for the services, Easter hymns, and cantatas by Bach colleagues Today's 30-year Revised Common lectionary offers a variety of Bach works suitable for various occasions, according to John S. Setterlund.³? It should be noted that this lectionary does not have works for Easter Tuesday or the 1st Sunday after Easter (see the Easter season of this year's Year B (primarily from Mark's gospel) since both services cover the same event, Jesus appears before his disciples in the upper room in all four gospels (Matthew 18:18, Mark 16:14, Luke 24:36-43, and John 20:19-23).? The one-year lectionary as it exists today () also has a service for Easter Wednesday (3 April 2024)⁴? with the lectionary readings, including the gospel, John 21:1-14, Jesus Appears to Seven Disciples, but no service for the 1st Sunday after Easter.? The three-year lectionary lists one special gospel reading, Matthew 28:9-15a nrsv () Jesus sends his disciples forth and The Report of the Guard.? Recommended Bach Easter Tuesday chorus Cantata 134.2, "Ein Herz, das seinen Jesum lebend wei?" (A heart which doth its Jesus clearly know, Ambrose trans.; ), alternate St. Michael's chorus Cantata 50, "Nun ist das Heil und die Kraft" (Now is the health and the strength, Rev. 12:10 [altered]; .

Sundays after Easter

For the Second Sunday after Easter (Misericordias, "tender mercies"):? Year B, 7 April 2024 (readings ), gospel John 20:19-31 (Upper Room with Thomas, ), favored is solo Quasimdogeniti solo Cantata 42, "Am Abend aber desselbigen Sabbatas" (The evening, though, of the very same Sabbath, Jn. 20:19; ); and alternate pasticcio solo Cantata 158, "Der Friede sei mit dir" (May peace now be with thee, Luke 24:36b, Ambrose trans.; .? Year C, 27 April 2025 (readings ), gospel John 20:19-31 (Upper Room with Thomas, ) favored St. Michael's chorus Cantata 149, "Man singet mit Freuden vom Sieg" (They sing now of triumph with joy, Ps. 118:15-16; ), alternate Cantata 42 (see above).? Year A, 12 April 2026 (readings ), gospel John 20:19-31 (Upper Room with Thomas, ), favored Quasimodogeniti (1st Sunday after Easter, "like new-born babes) chorus Cantata 67, "Halt im Ged?chtnis Jesum Christ" (Hold in remembrance Jesus Christ, 2 Tim. 2:8; 3b; ); alternate is Cantata 134 (see above).

For the Third Sunday after Easter (Jubilate, "Make a joyful noise" Ps. 66:1):? Year B, 14 April 2024 (readings, ), gospel Luke 24:36b-48 (Upper Room, ), favored is Cantata 134, alternate Cantata 67 (see above).? Year C, 4 May 2025 (readings, ), gospel John 21:1-19 (Jesus at Sea of Tiberiuus, fish-catch miracle, ), favored is Trinity 5 chorale chorus Cantata 93, "Wer nur den lieben Gott l??t walten" (The man who leaves to God all power, Ambrose trans.; ), alternate Cantata 6 (see above).? Year A, 19 Aril 2026 (readings, ), gospel Luke 24:13-35, Walk to Emmaus and Upper Room, ), favored is Cantata 6 (see above), alternate Cantata 66 (see above).

For the Fourth Sunday after Easter (Kantate, Sing to the Lord Ps.98:1): Year B, 21 April 2024 (readings, ), gospel John 10:11-18 (I am the Good Shepherd, ), Cantata 85 (see above), alternate Cantata 184 (see above).? Year C, 11 May 2025 (readings, ), gospel John 10:22-30 Jesus is rejected (), favored is Trinity 16 chorale Chorus 95, "Christ us, der ist mein Leben" (Lord Christ, he is my living, Ambrose trans.; ), alternate is Trinity 2 chorus Cantata 76, "Die Himmel erz?hlen die Ehre Gottes" (The heavens are telling of God the glory, Ps. 19:1, Ambrose trans.; .? Year A, 26 April 2026 (readings, ), favored is Pentecost Tuesday solo shepherd Cantata 175, "Er rufet seinen Schafen mit Namen" (He calleth his own sheep by name, Jn. 10:3; ), alternate is Misericordias chorus Cantata 104, "Du Hirte Israel, h?re" (Thou guide of Israel, hear me, Ps. 80:2; ).

For the Fifth Sunday after Easter (Rogate, petition):? Year B, 28 April 2024 (readings, ), gospel, John 15-1-8 (Jesus, Real Vine, ), favored is Trinity 17 chorus Cantata 148, "Bringet dem Herrn Ehre seines Namens" (Bring to the Lord honor for his name's sake, Ps. 96:8-9; ), alternate is Easter chorus Cantata 31, "Der Himmel lacht! Die Erde jubilieret" (The heavens laugh! The earth doth ring with glory, Ambrose trans.; ). Year C, 18 May 2025 (readings, ), gospel, Jn 13:31-35 (New Commandment, ), favored is Cantata 95 (see above), alternate is Trinity 2 chorus Cantata 76 (see above).

Added Sixth Sunday after Easter

The Three-Year Lectionary adds the Sixth Sunday after Easter ⁵ (Antipascha, "in place of Easter") before the Ascension Feast:? Year B, 5 May 2024 (readings, ), gospel, John 15:9-17 (farewell discourse Great Commandment ), favored is Pentecost Sunday chorus Cantata 172, "Erschallet, ihr Lieder, erklinget, ihr Saiten!" (Resound now, ye lyrics, ring out now, ye lyres!, Jn. 14:23, Ambrose trans.; ), alternate is 2nd Day of Christmas (Feast of St. Stephen) solo Cantata 57, "Selig ist der Mann" (Blessed is the man, Jas. 1-12, Ambrose trans.; ).? Year C, 25 May 2025 (readings, ), gospel, John 14:23-29 Promise of the Holy Spirit or John 5:1-9? Healing at the Pool (), Cantata 59, "Wer mich liebet, der wird mein Wort halten" [I] (He who loves me will keep my commandments, Jn. 14:23, Ambrose trans.; ), alternate is Trinity 19 chorus Cantata 48, "Ich elender Mensch, wer wird mich erl?sen" (A poor man am I; who will set me free," Rom. 7:24, Ambrose trans.; ).? Year A, 10 May 2026 (readings, ), gospel John 14:15-21 (Promise of Holy Spirit, ), favored is Cantate chorus Cantata 108, "Es ist euch gut, da? ich hingehe" (It is for you that I depart now, Jn. 16:7; .

?Feast of Ascension

For the feast of the Ascension of Our Lord: Year B, 9 May 2024 (readings, ), Acts 1:1-11 (), gospel, Luke 24:44-53 (Jesus' Ascension, ), favored is the Ascension Oratorio [Himmelfahrts-Oratorium], "Lobet Gott in seinen Reichen" (Laud to God in all his kingdoms, Lk. 24:50-51, Ambrose trans.; ), alternate is Ascension chorus Cantata 43, "Gott f?hret auf mit Jauchzen" (God goeth up with shouting, Ps. 47:6-7; ).? Year C, 29 May 2025 (readings, ); Acts 1:1-11 (), gospel Luke 24:44-53 (Jesus' Ascension, ), favored is Cantata 43 (see above), alternate is Ascension chorale chorus Cantata 128, "Auf Christi Himmelfahrt allein" (On Christ's ascent to heaven alone; Ambrose trans.; ).? Year A, 14 May 2026 (readings, ), Acts 1:1-11 (), gospel, Luke 24:44-53 (Jesus' Ascension, ), favored is Cantata 128 (see above), alternate is Ascension Oratorio, BWV 11 (see above).

Exaudi Sunday

For the Seventh Sunday after Easter (Sunday After Ascension, Exaudi ("Hear, O Lord," Ps. 27:1), readings, ):? Year B, 12 May 2024 (readings, ), gospel, John 17:6-19 (Jesus Prays for His? Disciples, ), favored is undesignated (?Jubilate) pure chorale Cantata 100, "Was Gott tut, das ist wohlgetan" [III] (What God doth, that is rightly done, Ambrose trans.;? ), alternate is Trinity 21 chorus Cantata 98, "Was Gott tut, das ist wohlgetan" [I] (What God doth, that is rightly done, Ambrose trans.; ).? Year C, 1 June 2025 (readings, ), gospel Jn. 17:20-26 (Jesus Prays for His Disciples, ), favored is Purification feast chorale Chorus Cantata 125, "Mit Fried und Freud ich fahr dahin" (In peace and joy do I depart [Nunc dimittis, Luke 1:26], Ambrose trans.; ), alternate is Sexagesimae chorale chorus Cantata 126, "Erhalt uns Herr, bei deinem Wort" (Maintain us, Lord, within thy word, Ambrose trans.; ).? Year A, 17 May 2026 (readings, ), gospel, John 17:1-11 (Jesus Prays for His Disciples, ), favored is Sunday after Christmas solo Cantata 152, "Tritt auf die Glaubensbahn" (Walk on the road of faith, Ambrose trans.; ), alternative is Cantata 43 (see above).

Apostle Day Cantatas

The Three-Year Revised Common Lectionary carries three single-day apostles observances with appropriate cantatas:? 1. April 25, "Mark, Evangelist," gospel Mark 1:1-15 (John the Baptist, Jesus' Baptism), favored John the Baptist feast chorus Cantata 30, "Freue dich, erl?ste Schar" (Joyful be, O ransomed throng, Ambrose trans.; ); 2. May 1, "Philip & James, Apostles," gospel John 14:8-14 (Jesus way to Father), favored Pentecost Sunday chorus Cantata 74, "Wer mich liebet, der wird mein Wort halten" [II] (He who loves me will keep my commandments, Jn. 14:23, Ambrose trans.; ); and 3, May 14, "Matthias, Apostle," gospel Acts 1:15-26 (Judas' Successor), favored is Trinity 4 pure chorale chorus Cantata 177, "Ich ruf zu dir, Herr Jesu Christ" (I call to thee, Lord Jesus Christ; ).

Postscript: Bach in the Easter Season of 1724 began mapping his musical outline of a Johannine trilogy with the composition of his St. John Passion, BWV 245, presentation of Easter Resurrection Cantatas 4 and 31, and the beginning of Jesus' Farewell Discourse to His Disciples (Chapters 14-16) for the five Sundays after Easter from the Third Sunday (Jubilate) to Exaudi (6th or 7th) in the following cantatas: Jubilate Jn. 16:16-23 (Sadness & Gladness),? BWV 12, 103, 146; Cantate, Jn. 16:5-15 (Jesus; departure, coming of the Spirit), BWV 166, ⁶ 108 (JLB 14); Rogate, Jn. 16:23-30? (Victory over World), BWV 86, 87 (JLB lost); Exaudi, Jn. 15:26-16:4 (Coming of Spirit, Persecution), BWV 44, 183; Pentecost Sunday, Jn. 14:23-31 (Promise of Spirit), BWV 172, 59, 74, 34). ? As Bach completed his first school year at St. Thomas in the spring of 1724, he began planning his 1724/25 second church-year cantata cycle () with a homogeneous collection of chorale cantatas (:? scroll down to "Chorale Cantata Cycle") while beginning to plan his St. Matthew Passion for Good Friday 1725 ().

ENDNOTES

¹ Eric Chafe:? J. S. Bach's Johannine Theology:? The St. John Passion and the Cantatas for Spring 1725 (Oxford GB:? Oxford University Press, 2014), .

² Cantata 6 is the third of 10 balanced structures using Alfred Dürr’s third group of six-movement cantatas with opening biblical dictum (usually) chorus and closing plain chorale flanking aria-chorale-recitative-aria (Alfred Dürr, Cantatas of J. S. Bach, revised and translated by Richard D. P. Jones [New York: Oxford University Press, 2005: 27f], ).

³ John S. Setterlund, Bach Through the Year: The Church Music of Johann Sebastian Bach and the Revised Common Lectionary (Minneapolis MN: Lutheran University Press, 2013: 36), .?

⁴ Easter Wednesday (3 April 2024), with the lectionary readings (; John 21:1-14, Jesus Appears to Seven Disciples (.

⁵ Sixth Sunday after Easter:? .
⁶ Although Cantata 108 was thought to be part of a double bill on Cantate Sunday, 7 May 1724, with lost Weimar Cantata Anh. 191, "Leb ich oder leb ich nicht" (Live I or Live I not) there is no source-critical evidence or music extant and beyond the various studies cited above, neither the Bach Compendium:? Analytisch-bibliographisches Repertorium der Werke Johan Sebastian Bachs of Hans-Joachim Schulze and Christoph Wolff () nor the new Bach Werke Verzeichnis 3rd edition () cite BWV Anh. 191 in the Bach canon.? At the same time, Bach had available cantatas for Easter season of Johann Ludwig Bach which he presented in 1726 while composing the St. Matthew Passion (see , "Ostersonntag" to "Misericordias Dom." (JLB 21=BWV 15, 10, 11, 6, 12) and Cantate and Rogate (JLB 14 and "Der Herr ist nahe allen, 5th Sunday after Easter, no JLB, lost.

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To Come:? Bach's?1724-25?Chorale Cantata Cycle:? Ambitious, Incomplete ?

--
William Hoffman

Dear Bruce,

In the following page of the BCW? you can find all the Chorale Melodies (CM) used by J.S. Bach's works, including all the cantatas:

For each CM there is a list of the works and their movements were the CM is used.
You can easily see where the CM is used in most or all the movements.

Enjoy,

Sincerely,

Aryeh Oron
Webmaster of Bach Cantatas Website (BCW)

Moderator of Bach Mailing List (BML)
/g/Bach

开云体育

Perfect; thank you Peter.

开云体育

Hello Bruce, hello all