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The final two months of October and November observe the last eight Sundays after Trinity from the 19th to the 26th, as well as special single-day feast observances of Michael and All-Angels, September 29; All-Souls Day, November 2; St. Andrew's Day, November 26-30; and Christ the King Sunday, the last of the church year in the 3-year Revised Common Lectionary of John S. Setterlund.¹ ? The various lectionaries, primarily the single year in Bach's time and the current 3-year Revised Common Lectionary, consider this closing period to be End Time or the Last Things ().

<<The Late Trinity Time mini-cycle segment closes the annual cycle of church-year services in Bach's first Leipzig Jahrgang on the teachings of topical thematic patterns of parables, miracles, and other Gospel teachings of the Christian Church (source:? ). It runs from the 19th Sunday after Trinity (20th Sunday after Pentecost in today's three-year Christian lectionary) to the Last Sunday in the mid-20th Sundays after the Trinityfest.>>?

Late Trinity Time Mini-Series

<<This so-called mini-series embraces the beginning at the Feast of Michael and All Angels, the fixed date of September 29, and ends a month after in the Reformation Festival fixed date of October 31 with some four Sunday Trinity time services remaining to close the church year. These two fixed, festive services provide two of the foundational events in the Life of the Christian Church in the second half or omnes tempore (Ordinary Time) as contrasted to the first half, the seasonal de tempore (Proper Time) on the life and earthly ministry of Jesus Christ. ?

The Feast of Michael and All Angels (Michaelmas) observes the defeat of evil and triumph of human salvation while the Reformation Festival officially began at the Reformation Jubilee on the Centennial of Luther's Posting of his 99 theses, on 31 October 1617, and the establishment of the Christian Church. Two more contemporary, now eschatological observances during this last period are the fixed liturgical feast of All-Saints Day, November 1, liturgical observance of All-Souls Day, November 2 (see ) also known as Dia de Muerto ( ), and the moveable Christological celebration of Christ the King Sunday, the last Sunday in the Church Year (, ). At the end of Late Trinity Time, Bach turned to the Christological de tempore first half of the church year, beginning with the Leipzig minor feast day of the 1st Sunday in Advent, observing Jesus incarnation. During the remainder closed period of the final three Sundays in Advent he completed his first major vocal work the Magnificat in E-Flat, BWV 243a=243.1 with the four Christmas interpolations ().>>? Meanwhile, the concept of Last Judgment or End Times is observed in the current 3-year Revised Common Lectionary with special liturgy in The Season of End Times (), The Wartburg Project (Second Coming, Eschatology. Year C liturgy ) while the current Year B has the following liturgy:

Reformation Sunday (The First Sunday of End Time, 3 November 2024):? 1st Lesson, Jeremiah 18:1-4, Word of Lord to House of Israel, (Potter and Clay, ), 2nd Lesson, Revelation 14:6-7, fear of God and give him glory (Messages of three angels, ), Gospel, Mark 13:5-11, Troubles & Persecutions (Destruction of Temple foretold, ).? Feat of Reformation Day (October 31), Gospel Revelation 14:6-8 () or Romans 3:19-28 (Righteousness through faith, ), preferred Cantata 80.3 (, ), alternate Cantata 79 ().

Last Judgment (The Second Sunday of End Time, 10 November 2024): 1st Lesson, Malachi 4:1-2a, Great day of Lord, ); 2nd lesson, Hebrews 9:24-28 (Christ has entered,? ). Gospel John 5:19-24 (Authority of Son, ).? Last Judgment, see .? Single lectionary, Matthew 25::31-46 (Separation of sheep & goats, ), preferred Cantata 116 (). Year B, Gospel John 5:9-24 (Authority of Son, ), preferred Cantata 127 (, );? Year C, Gospel Luke 19:11-27 (Question about Resurrection, ), preferred Cantata 14 (, ).? Year A, Matthew 25:31-46 (same as single lectionary above), preferred Cantata 116 (, ).

Saints Triumph (Third Sunday of End Time, 17 November 2024).? 1st Lesson, Daniel 12:1-3, Resurrection of Dead, ; 2nd lesson Hebrews 10:11-18, Christ's sacrifice takes away sin, ; Gospel John 5:25-29, Authority of Son, ).? ? The Triumphant Saints are found in Revelation 14:2-5, the 144,000 men out in the world joining Christ at the Second Coming ().? Single lectionary, Matthew 25:1-13 (Wise & foolish bridesmaids, ),?preferred Cantata 140 (, ).? Year B, Gospel John 5:25-29 (Hour is coming, ), preferred Cantata 60 II (, ).? Year C, Gospel Luke 20:27-38 (Jesus speaks of resurrection, ), preferred Cantata/Motet 118.1-2 (, ).? Year A, Gospel Matthew 25:1-14 (same as single lectionary above), preferred Cantata 140.

Christ the King (The Fourth [Last] Sunday of End Times, Reign of Christ, 24 November 2024, Proper (29 (34), complete liturgy ().? Year B, Gospel John 18:33-37 (Kingdom of Christ, ), preferred Cantata 117 (, ), alternate Cantata 116 (, ).? Year C, Gospel Luke 23:35-43, 23 November 2025, Proper (29 (34), complete liturgy (), Gospel Luke 23:35-43 (Jesus crucified with two thieves, ), preferred Cantata 182 ( https://iopn.library.illinois.edu/scalar/bachcantatas/bwv117bca187?path=cantatas-for-unknown-occasions, ), alternate Cantata 106 11(, ).? Year A, Gospel Matthew 25:31-46 (Separation of sheep & goats, 22 November 2026, Proper 29 (34), ), preferred Cantata 116, alternate Cantata 90 (, ).

Trinity Time Last Sundays
<<The very last Sundays of the Church year, those in Ordinary Time (omnes tempore, ) address the gospel and chorale eschatological (Last Time) themes of “Last Days, Resurrection of the Dead, and Eternal Life" found in the last pages of Bach’s hymnbook, Das neu Leipziger Gesangbuch (NLGB Nos. 390-396). In the Trinity Times ending in the final themes of the Last Time, and Life Eternal is the reward of Catechism “Justification” through grace alone (sola fide) principle of Lutheran Theology (). Other non-liturgical Catechism personal themes are found in the hymns for Morning and Evening prayers, Grace at Meals, and Prayer for Good Weather>> (source, ).? <<For the chorales for the 19^th to 27^th Sundays after Trinity, see BCW, : scroll down, and see details of the final Trinity Time cantatas, ).? The gospels for the final eight Sundays after Trinity focus on one of the three thematic patterns of parables, miracles and teachings: Trinity 20, Matthew 22:1-14, Parable of the marriage of the king’s son; Trinity 21, John 4:46-54, Miracle of the nobleman’s son healed; Trinity 22, Matthew 18:23-35 Parable of the unmerciful servant; Trinity 23, Matthew 22:15-22, Teaching: The Pharisees and the tribute to Caesar; Trinity 24, Matthew 9:18-26 Miracle of the Raising of Jairus’s daughter; Trinity 25, Matthew 24:15-28, Teaching: Christ’s prediction; Trinity 26, Matthew 25:31-46, Teaching: The Last Judgement; Trinity 27, Matthew 25:1-13 Teaching: The wise and foolish virgins.? It is documented that Friedemann received both the score and parts for the final seven cantatas presented in late Trinity Time 1723 in the first cycle, presumably because these were most appropriate for his use as music director in Halle in 1750.

Late Trinity Time Commentary ?

For a commentary of eschatological later Trinity Time Sundays and feast days, see Hendrik Slegtenhorst.²? It concerns the final Sundays after Trinity from 17 to 27 with specific themes as well as the festivals of Michaelmas (September 29) and Reformation Day (October 31):? Trinity 17, Humility of Purpose (BWV 148, 114, 47); Trinity 18, Love Divine and Mortal (BWV 96, 169); Michaelmas, Good and Evil (BWV 130, 19, 149, 50); Trinity 19, Journey that Makes One New and Whole (BWV 48, 5, 56); Trinity 20, Blind Attraction (BWV 162, 180, 49); Reformation Day (October 31), Christian Repentance (BWV 79, 192, 80.3); Secular Cantatas (BWV 201, 206); Trinity 21, Belief and Unbelief (BWV 109, 38, 98, 188); Trinity 22, Threat and Mercy (BWV 89, 115, 55); Trinity 23, Falsity and Friendship (BWV 163, 139, 52); Trinity 24, Fear and Hope (BWV 60, 26); Trinity 25, Desolation of Last Judgment (BWV 90, 116); Trinity 26, Rewards of Good and Evil (BWV 70), Trinity 27, Unity of Light (BWV 140).

?Late Trinity Time Sundays

The late Trinity Time Sundays from the 19th to the 27th are revealed in the three-year Revised Common Lectionary oof Setterlund:

19th Sunday after Trinity (18th Sunday after Pentecost). Year B, Mark 10:2-16 (Teaching on marriage, , 6 October 2024, Proper 22 (27), preferred Cantata 139 (, ), alternate Cantata 118 (, .? Year C, Luke 17:5-10 (Faith size of mustard seed, , 5 October 2025, Proper 22 (27), preferred Cantata 75/2 (, ), alternate Cantata 180 (, .? Year A, Matthew 21:33-47 (Parable of vineyard owner's son, , 4 October 2026, Proper 22 (27), preferred Cantata 101 (, ), alternate Cantata 102 (, .

20th Sunday after Trinity (19th Sunday after Pentecost).? Year B, Mark 10:17-31 (Teaching on wealth & reward, , 13 October 2024, Proper 23 (28), preferred Cantata 97 (, ), alternate Cantata 138 ().? Year C, Luke 17 11:19 (Healed leper gives thanks to Jesus, 12 October 2025, Proper 23 (28), preferred Cantata 17 (, ), alternate Cantata 72 (,? ? ? ?

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21st Sunday after Trinity (20th Sunday after Pentecost).? Year B, Mark 10:35-45 (Warnings to ambitious disciples, , 20 October 2024, Proper 24 (29), preferred Cantata 99 (, ), alternate Cantata 56 (, .? Year C, Luke 18: 1-8 (Widow begs for justice, , 19 October 2025, Proper 24 (29), preferred Cantata 157.1 (, alternate Cantata 143 (, ).? Year A, Matthew 22:15-22 (Teaching about emperor & God, , 18 October 2026, Proper 24 (29), preferred Cantata 162 (, ), alternate Cantata 180 (, .

22nd Sunday after Trinity (21st Sunday after Pentecost).? Year B, Mark 10:46-52 (Christ heals blind Bartimaeus, ), 27 October 2024, Proper 25 (30), preferred Cantata 23.3 (, ), alternate Cantata 38 (, ).? Year C, Luke 18:9-14 (Pharisee & tax collector pray, ,26 October 2025 Proper 25 (30), preferred Cantata 179.1 (,), alternate Cantata 131 (, .? Year A, Matthew 22:34-36 (Loving God & neighbor, ), 25 October 2026, Proper 25 (30), preferred Cantata 96 (, ), alternate Cantata 169 (, ? .

23rd Sunday after Trinity (22nd Sunday after Pentecost).? Year B, Mark 12:28-34 (Widow's generosity, , 3 November 2024, Proper 26 (31), preferred Cantata 77 (, ), alternate Cantata 33 (, .? Year C, Luke 19:1-10 (Zacchaeus climbs high to see Jesus, , 2 November 2025, Proper 26 (31), preferred Cantata 55 (, ), alternate Cantata 89 (, .? Year A, Matthew 23: 1-12 (Humble yourselves, , 1 November 2026, Proper 26 (31), preferred Cantata 169 (, ), alternate Cantata 52 (, .

24th Sunday after Trinity (23rd Sunday after Pentecost).? Year B, Mark 12:38-44 (Widow's generosity, , 10 November 2024 (Proper 27 (32), preferred Cantata 52 (, ), alternate Cantata 139 (, ).? Year C, Luke 20:27-38 (Jesus speaks of resurrection, , 9 November 2025, Proper 27 (32), preferred Cantata/Motet 118 (, ), alternate, Cantata 31.2 (, ).? Year A, Matthew 25 1-13 (Wise & foolish bridesmaids, , 8 November 2026, Proper 27 (32), preferred Cantata 140 (, ), alternate Cantata 115 (, ).

25th Sunday after Trinity (24th Sunday after Pentecost), Year B, Mark (John 18, 33-37, Kingdom of Christ, , 24 November 2024, Proper 29 (34), preferred Cantata 117 (, ), alternate Cantata 116 (, ).? Year C, Luke 23:33-43 (Jesus crucified with two thieves, , 23 November 2025, Proper 29 (34), preferred Cantata 182, , no Palm Sunday except for Annunciation, ), alternate Cantata 106 (, ).? Year A, Matthew 25:31-46 (Separation of sheep & goats, , 22 November 2026, Proper 29 (34).

Special, single-day festive events during later Trinity Time, ie Sundays of End Time (, these events were not normally part of the standard Lutheran liturgical calendar):

Day of Thanksgiving, November 28.? Year B, Matthew 6: 25-33 (God will care for all our needs, , 28 November 2024, no Proper), preferred Cantata 29, , ), alternate Cantata 187 (, ).? Year C, John 6:25-35 (Jesus, bread of life, , 27 November 2025, no Proper), preferred Cantata 69.2 (,? or Cantata 69a(.1), ), alternate Cantata 162.2 (, ).? Year A, Luke 17:11-19 (Healed leper gives thanks to Jesus, 26 November 2026, no Proper),? preferred Cantata 192 (, ), alternate Cantata 79 (, ).

Reformation Day (1st Sunday of End Time), October 31 (often observed on the next Sunday, (November 3), one-year lectionary, John 17:6-19 (I have manifested they name, , preferred Cantata 80.2 (, ), alternate Cantata 79 (, .? Year B, Mark 13:5-11 (Destruction of Temple foretold, ), preferred Cantata 26 (, ).? Year C, John 17:6-19 (True Disciples, ), preferred Cantata 55 (,? ).? Year A, Matthew 10:16-23 (Coming persecutions, ) preferred Cantata 57 (, ).

All Saints Day, November 1 (often observed on the next Sunday, November 3), one-year lectionary, Matthew 5:1-12 (Teaching of Christ:? Beatitudes, ), preferred Cantata 107 (, .? Year B, John 11:32-44 (Raising of Lazarus, ), preferred Cantata 156 (, ).? A related festival observance is All-Souls Day on November 2, instituted by the Catholic church to commemorate all those who have passed within the faith.? Bach's works appropriate for this day are discussed at "All-Souls Day Cantata Prospects" in .

Special Occasions

Setterlund's current 3-year Revised Common Lectionary, following the established church year readings through Trinity Time (pp. 3-113), has 19 special occasions for church music:? Dedication or Anniversary of a Church, Saints, Martyrs, Missionaries, Renewers of the Church, Renewers of Society, Pastors and Bishops, Theologians and Teachers, Marriage, Christian Unity, Harvest, Day of Penitence, Day of Mourning, National Holiday, Peace, Stewardship of Creation, and New Year''s Eve.? The Supplement of Alternative Lectionaries has contemporary overlapping, often varied date observances, Lutheran Service Book (LCMS 2006, St. Louis MO, Concordia Publishing:? 161; ): ? Anniversary of a Congregation, Mission Observance, Harvest Observance, Day of Thanksgiving, Day of Supplication and Prayer, Day of National or Local Tragedy; and 17 occasions in the Lectionary Christian Worship (WELS 1993, Milwaukee:? Northwestern Pub.:? 174f:? Christian Education, Church Anniversary, Church Dedication, Environment, Evangelism, Family, Installation/Ordination, Nation, Organ Dedication, School Dedication, Social Concern, Stewardship, Synod, Thanksgiving Day, Time of Crisis, Worker Training, World Missions.? ?

ENDNOTES

¹ 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), , .

² Hendrik Slegtenhorst, On the Cantatas of J. S. Bach:? Trinity XVII-XXVII (Vancouver BC:? Enlora Press:? 2017-2023, ,

To Come:? 3-Year Common Lectionary special occasions with recommended Bach church music.

The month of September ushers in the Middle Trinity Time Sundays as well as single-day special events in the 3-year Revised Common Lectionary.¹? A new, three-year Revised Common Lectionary () was created in the 20th century for the Catholic and progressive Protestant churches with Year B representing the Gospel of Mark (2023-24); Year C, the Gospel of Luke; and Year A, the Gospel of Matthew. Important selective Johannine readings are found in all three years. Portions of the are read throughout , and are also used for other liturgical seasons including , , and where appropriate.? Trinity Time was established as the 2nd half of the church year with some 26 Sundays and a small number of single-feast days and the 2nd cycle of chorale cantatas as found in the article, "Trinity Time Lectionary ().? The three-year revised Common Lectionary provided for various events beginning with the early Trinity Time Sundays of the first four as well as special single-day festive events during earlier Trinity Time: Nativity of John the Baptist, June 24, gospel Luke 1:57-67 (Birth of John the Baptist), preferred Cantata 167; Presentation of the Augsburg Confession, June 25, gospel Matthew 10:32-39 (Confessing, rejecting Christ; not peace but sword), preferred Cantata 190a; Apostles St. Peter & St. Paul, June 29, gospel Mark 8:27-35 (Peter declares Jesus Messiah, Jesus predicts suffering, death), preferred Cantata 159. St. Mary Magdalene, July 22; gospel John 20:1-2, 11-18 (Empty tomb, Jesus appears to Mary Magdalene), preferred Cantata 145; Apostle James the Elder, July 25, gospel Mark 10:35-45 (James & John request Jesus' throne), preferred Cantata 98.? Next in line comes the Trinity Time Sundays from the 5th to the 14th Sundays after Trinity in the article "Leipzig Church-Year Cantata Cycles: Bach's Grand Design" .(.

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Next comes the 15th through the18th Sundays after Trinity in Middle-Trinity Time.? 15th Sunday after Trinity (14th Sunday after Pentecost):? Year B, Mark Gospel, 7:24-37 (Christ heals little girl & deaf man, ; Proper 18 (23), 8 September 2024):? preferred Cantata 35 (, ), alternate Cantata 51 (, ).? Year C, Luke 14:25-33 (Give up your possessions, , Proper 18 (23), 7 September 2025):? preferred Cantata 8 (, ), alternate Cantata 3 (, .? Year A, Matthew 18:15-20 (Reconciliation in community of faith, ), 6 September 2026 (Proper 18 (23):? preferred Cantata 177 (), alternate Cantata 42 (, ).? 16th Sunday after Trinity (15th Sunday after Pentecost):

Year B, Mark 8:27-38 (Peter's confession of faith, , 15 September 2024, Proper 19 (24): preferred Cantata 159 (), alternate Cantata 23 (, ).? Year C, Luke 15:1-10 (Lost sheep & lost coin, , 14 September 2025, Proper 19 (24):? preferred Cantata 184 (, ), alternate Cantata 135 (, ).? Year A, Matthew 18:21-35 (Parable of forgiveness, , 13 September 2026, Proper 19 (24):? preferred Cantata 89 (, ), alternate Cantata 115 (, ).? 17th Sunday after Trinity (16th Sunday after Pentecost).? Year B, Mark 9:30-37 (Prediction of? Passion, ):? preferred Cantata 166 (, ), alternate Cantata 159 , . Year C, Luke 16:1-13 (开云体育 God or wealth, , 21 September 2025, Proper 20 (25):? preferred Cantata 105 (, ), alternate Cantata 94 (, ).? Year A, Matthew 20:1-16 (Parable of vineyard workers, , 20 September 2026, Proper 20 (25):? preferred Cantata 144 (, ), alternate Cantata 85 (, ). 18th Sunday after Trinity (17th Sunday after Pentecost), Year B, Mark 9:38-50 (Warnings to those who obstruct faith, , 29 September 2024, Proper 21 (26):? preferred Cantata 73 (, ), alternate 186 (, ).? Year C, Luke 16:19-31 (Poor Lazarus &? rich man, , 28 September 2025, Proper 21 (26): preferred Cantata 75/1 (, : alternate Cantata 181 (, ).? Year A, Matthew 21:23-32 (Parable of doing God's will, , 27 September 2026, Proper 21 (26):? preferred Cantata 87 (, ), alternate Cantata 96 (, ).

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Special, single-day festive events during middle Trinity Time:? Holy Cross Day, September 14 (), Gospel John 3:13-17 (Son of Man lifted up, ), preferred Cantata 174 (, ).? Matthew, Apostle & Evangelist, September 21 (), Gospel Matthew 9:9-13 (Matthew, Follow me), preferred Cantata 103 (, ).? Michael & All Angels, Sept. 29 (, the feast of St. Michael was the beginning of the Leipzig Fall Fair, the most important of the three fairs (plus winter (Epiphany) and spring (Jubilate), see . scroll down to "Mini-Cycle Gap"):? preferred gospel Revelation 12:7-12, ; preferred Cantata 19 (1726, , alternate Cantata 149 (1728, , .

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ENDNOTES.?

¹ 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), , .

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To Come:? Late Trinity Time cantatas

+BCW General,?

+BCW Chorale Melodies, texts,

+BCW Bachfest Leipzig 1724, chorale cantata (2nd) cycle, .

+BCW Chorale Cantatas:? Unity through diversity,

+BCW Chorale Cantata Cycle: Challenges, Ingredients, Scope, .

+BCW Bachfest Leipzig 1724, chorale cantata (2nd) cycle,

+BCW Chorale Addendum: Borrowings, Adaptations, Sources,

+BCW Works Catalogue BWV3: Chorale Collections, Sources, Usages; Sacred Songs,

+BCW BWV3 Catalogue, BCW Chorale Resources, .

+BCW World of the Bach Chorale Settings, .

+BCW Chorale Cantata Cycle: Part 1; Part 2: Early Reception History,

+BCW Motets & Chorales for Events in the Lutheran Church Year,

+BCW Chorale Cantata Cycle: sections:? "Chorale Cantata Overview," "Anatomy of a Chorale Cantata," Lutheran Chorale Tradition," "Chorale Cantata Cycle," "Genesis of Chorale Cantata Cycle" (cycle 1 proto-chorale cantatas BWV 43, 95, and 73 plus BWV 138), "Chorale Cantata Elements," "Innovation & Balancing Act," "Compositional Challenges," "Cantata Cycle Incomplete," "Chorale Cantata Obstacles," and "Chorale Cantata Librettist(s)" which probes the great enigma of the identity of the cycle librettist(s) and the reasons for Bach's cycle cessation at Easter 1725 (:? scroll down to "Chorale Cantata Cycle"

+BML (Bach Mailing List):? articles, 2014, : scroll down to "Choral Cantatas, Cycle II"; ;?

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+BCW Chorale by Theme. (November 16-18, 2004)

(February 28, 2015)

(July 9+16, 2017)

(July 21, 2017)

(July 25, 2017)

(July 28, 2017)

(September 23, 2017)

(December 3, 2017)

(December 7, 2017)

(December 14, 2017)

(December 21, 2017)

(December 24, 2017)

(February 20, 2018)

(March 25, 2018)

(March 31, 2018)

(April 11, 2018)

(October 14, 2018)

(November 21+24, 2018)

(December 1, 2018)

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Other articles

• Uwe Wolf, "The chorale cantata year-cycle and the St. John Passion,"

+Wikipedia, Chorale Cantatas, .

• Charles Sanford Terry, Bach’s Chorals, 3 vols., .

+Alfred Dürr, "Bach's Chorale Cantatas":? In BACH: Essays, ed. Yo Tomita et al (Burbank CA: Ashgate Publishing, 2011:? 111-119 (Chapter 11); In Cantors at the Crossroads:? Essays in Church Music in Honor of Walter E. Buszin (St. Louis:? Concordia, 1967:? 507-517); .

+Hans-Joachim Schulze, "Bach's Chorale Cantatas," in Commentaries on the Cantatas of Johann Sebastian Bach, trans. James A. Brokaw II (Urbana:? Univ. of Illinois Press, 2024), , ; source:? Die Bach-Kantaten:? Einführungen zu S?mtlichen Kantaten Johann Sebastian Bachs (Leipzig:? Evangelische Verlagsanstalt, 2006.

+Harald Streck, Die Verskunst in den poetischen Texten zu den Kantaten J. S. Bachs (The Art of Verse in the Poetic Texts of J. S. Bach's Cantatas), (Hamburg:? Verl. d. Musikalienhandlg. Wagner, 1971), Hamburger Beitr?ge zur Musikwissenschaft; 5; authors of chorale cantatas in four groups:

1st group:? BWV 78, 8, 96, 5, 115, 26, 62, 124 & 1 (also 181).

2nd group:? BWV 9, 101, 113, 180 (also 190,65 & adaptations of 66, 134, 184).

3rd group:? BWV 33, 99, 130, 114, 38, 139, 116, 91, 121, 133, 122, 41, 123, 3, 111, 125.

4th group:? possibly by various authors & of inferior poetic quality:? BWV 20,2, 7, 135, 10, 93, 178, 94, 92, 127.?

Table of Contents (Inhaltverzeichnis), .

Also published in BACH, Journal of the Riemenschneider Bach Institute (Berea OH, July 1980:? 18-35.

+Alfred Dürr, 2.5 Leipzig Cycle II (1724-25), in The Cantatas of J. S. Bach:? With Their Librettos in German-English Parallel Text, rev. & trans. Richard D. P. Jones (Oxford: Oxford Univ. Press, 2005:? 29-36), .

+Klaus Hoffmann, Cantatas from Leipzig 1724, :? scroll down to "O Ewigkeit, du Donnerwort, BWV 20." +Renata Steiger, ed., "Johann Sebastian Bachs Choralkantaten als Choral Bearbeitungen," Internationale Arbeits Gemainschaft für Theologische Bachforschung Bulletin 3; Heidelberg 1991.?

+Friedhelm Krummacher, "Bach’s Zyklus der Choralkantaten: Auifgeben und L?sungen," G?ttingen, 1995, as cited in An Introduction to Bach Studies, Daniel R. Melamed and Michael Marissen (Oxford University Press: New York, 1998: 116).?

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Monographs

+Klek, Konrad, Dein ist allein die Ehre (Yours alone is the honor), Johann Sebastian Bach's Geistliche Kantaten erkl?rt (Bach's Sacred Cantatas Explained):? Vol. 1, Choralkanten (Leipzig:? Evangelische Verlagsanstalt, 2015); 40 cantatas 2nd cycle, 11 cantatas later added, 5 not assigned to cycle; .

+Markus Rathey, IV. Der Zweite Leipziger Jahrgang — Choralkantaten, in Bach's Kantaten:? Das Handbuch, Vol. 1, ed. Reinmaar Emans & Sven Hiemke (44 cantatas surveyed) (Laaber:? Lilenthal, 2012), .

+W. Gillies Whittaker, "Choral Cantatas," in vol. 1, Church Cantatas, Middle Period (Leipzig) (London:? Oxford University Press, 1959), .

+Konrad Kuster, "Die Choralkanten im 2. Leipziger Jahrgang," in Bach Handbuch, ed. Konrad Kuster (Kassel:? B?renreiter/Metzler, 2nd ed. 2017), ; abstract, .

+Martin Geck, "The Leipzig Cantatas: Chorale Cantata Cycle," in Johann Sebastian Bach:? Life and Work, trans. John Hargraves (Orlando:? Harcourt Inc., 2006), .

When Bach assumed his cantor and music director post in Leipzig on Pentecost Sunday 1723 he had a grand design for his first two church-year cantata cycles.? For the heterogeneous first cycle of some 60 services, he recycled 30 cantatas originally composed in Weimar and Cothen, altering some from services not available in Leipzig during the closed periods of Advent and Lent or serenades to be parodied for new services.? Bach's compositional process required him to secure a series of libretto books with consecutive services from available librettists in which he picked the appropriate chorale and liturgical text and outlined the internal movements to be paraphrased.? Bach was following various compositional patterns.? Bach's employer, the Leipzig Town Council, had authority over the location of the service and approval of the texts for the next series of services.? Only a handful of such libretto books is extant, primarily covering de tempore festive services in the first half of the church year.? As Bach compiled his first cycle he examined the recommended hymns for each service and focused on the Hymn of the Day in the second half of the church year, omnes tempore for Trinity Time, now called the Pentecost Season on the life of the Christian Church.? Here, Bach was guided by the appropriate motets and chorales for each service (see events in the church year,? :? scroll down to 1st Sunday after Trinity [Trinity 1]). ?

A special template is found in the "Trinity Time Thematic Patterns in the Gospels," focusing on three literary patterns or genres: Parables - short moralized allegories within the larger narratives of events in the life of Christ; Miracles - short self-contained narratives of miraculous healings; and Teachings -? excerpts from longer hortatory discourses by Christ.? The first four Sundays after Trinity is a sequence of four gospel parables:? Trinity 1, Luke 16: 19-31 Dives and Lazarus; Trinity 2, Luke 14: 16-24 Parable of the great supper; Trinity 3, Luke 15: 1-10 Parable of the lost sheep; and Trinity 4, Luke 6: 36-42 Be merciful and do not judge.? Overall, the Trinity season seems to explore the human condition, its weakness, wavering, sinfulness, and mortality, emphasizing these qualities so as to demonstrate the need for both fear of God’s judgment and trust in His mercy.” The first third (1-8) emphasizes Lutheran fundamental teachings, the second third (9-19) on the theological underpinnings, while the final third is the eschatological (Last Time) themes of “Last Days, Resurrection of the Dead, and Eternal Life" found in the last pages of Bach’s hymnbook, Das neu Leipziger Gesangbuch (NLGB Nos. 836-992. ).? ?

Chorale Cantata Cycle Schedule

An accounting of the actual performances of the homogeneous 2nd church year cycle of chorale cantatas () shows that from the period of the First Sunday after Trinity with Cantata BWV 20 (11 June 1724), Bach composed 40 chorale cantatas until the Feast of the Annunciation (25 March 1725) with Cantata BWV 1, “Wie sch?n leuchtet der Morgenstern.” During that nine-month period, Bach systematically produced chorale cantatas for virtually every Sunday and all the feasts days. At that time he did not compose and present three chorale cantatas for the following services: the 4^th Sunday after Trinity since it coincided with the Feast of John the Baptist (24 June 1724, BWV 7); the 6^th Sunday after Trinity (16 July 1724), when no work was presented but a chorale cantata text completed and later set as BWV 9; the 12^th Sunday after Trinity 27 August 1724), when no work was presented. Interestingly, Bach subsequently filled these three gaps with chorale cantatas composed individually and added to the cycle until 1735: Cantata BWV 177 for Trinity +4 in 1731, Cantata BWV 9 for Trinity +6 in 1735, and Cantata BWV 137 for Trinity +12 in 1725). In addition, for the period of Trinity Time through the Feast of the Annunciation during Lent, Bach composed two additional chorale cantatas on Sundays that did not occur in 1724-25: Cantata BWV 140 was composed in 1731 for the last Sunday in Trinity Time (+27), and Cantata BWV 14 for the 4^th Sunday after Epiphany that did not occur in 1725. During the Easter-Pentecost Season of 1725, Bach composed no chorale cantatas for the 12 services, ending with the Trinity Sunday Festival. Bach did repeat chorale Cantata BWV 4 for Easter Sunday (1 April 1725) and in 1730 completed Cantata BWV 80 for the Reformation Festival. For the three-month Easter-Pentecost period, Bach did compose Cantata BWV 129 in 1726-27 for the Trinity Sunday Festival and Cantata BWV 112 for Misericordias Domini (2^nd Sunday after Easter), c.1731. Thus Bach added seven chorale cantatas to the cycle and included Cantata 4 and Cantata 80 in this cycle for a total of 49. In addition, between 1730 and 1735 Bach composed four undesignated, pure-hymn chorale cantatas that are appropriate for weddings or for anytime: BWV 97, 100, 117, and 192 – for a grand total of 53. Virtually all the chorale cantatas composed from 1725 onwards are set to original, pure-hymn texts, also known as per omnes versus.

Church Year Extended Works

As Bach began shaping his first two church cantata cycles he also began to compose and integrate extended works for the church year, beginning with single feast days such as the Magnificat, BWV 243.1 for the Marian Feast of the Visitation on 2 July 1723 and Christmas Day, as well as mini-cycles of cantatas and Passion oratorios for Good Friday Vespers and eventually the first Easter Oratorio.? One project early on involved Johannine Theology built around Jesus' Farewell Discourse to his Disciples in the nine Easter Season cantatas from Jubilate (3rd Sunday after Easter) to Trinity Sunday, originally commissioned for Spring 1724 from Leipzig poetess Mariane von Ziegler but completed and presented in the Spring of 1725¹ when Bach also shaped and presented the 2nd version of the St. John Passion, BWV 245.2 with additional chorales as well as "Kommt, gehet und eilt," BWV 249.3 (first sacred version of the Shepherd's Cantata BWV 249.1, at the same time the original form of the Easter Oratorio BWV 249.4–5 (see 2nd cycle schedule, ). ? During this time, Bach also experimented with the Passionsoratorium, BWV Anh. 169, a sketch by Picander for a Passion oratorio in the style of Brockes, with six passages "that Picander later took from the Passion libretto and placed in the St. Matthew Passion (BWV 244.1)," says Alexander Grychtolik, in 1727 (see , ).? While no libretto books are extant for the initial cantatas in the first two cycles, the first cantata year of 1723/24 yields three volumes (:? scroll down to "Vision Bach Series," VB-1, 2, 3)? Vol. 1 (BWV 75, 76, 21.3, 185.2, and 24), Vol. 2 (BWV 167, 147, 186, 136), and Vol. 3 (BWV 105, 46, 179, 199.3, 69.1, 77, 25, 119).? These three volumes at the beginning of the first cycle, as well as the incomplete second cycle lacking chorale cantatas for the Easter Season, nevertheless constitute two significant mini-cycles with a third cycle, also homogeneous and incomplete, providing more mini-cycles.? This was in contrast to Bach's prolific colleagues Georg Philip Telemann in Hamburg, Johann Friedrich Fasch in Zerbst, Christoph Graupner in Darmstadt, and Gottfried Heinrich St?lzel in Gotha, who produced multitudes of homogeneous cantata cycles with one author.? ?

Third Church Year Cantata Mini Cycles

Bach in contrast in his third cycle produced a series of striking min-cycles (), involving dialogue solo cantatas; symbolic bride-groom cantatas; Vox Dei, Vox Christi, Unio Mystica cantatas; and third-cycle mini-cantatas by single librettists: Christoph Birkmann, eight cantatas (BWV 49, 52, 55, 56, 58, 82, 98, 169; ), Georg Christian Lehms, nine cantatas (BWV 13, 16, 32, 35, 57, 110, 151, 170, 1135-Anh. 209; ), Rudolstadt/Meinengen (Helms), seven cantatas (; BWV 17, 39, 43, 45, 88, 102, BWV 187) and Johann Ludwig Bach (substitute 1726, , JLB 1-19); as well as seven Picander (BWV 19, 157, 84, 30, 249, 145, 36); seven possibly Christian Weiss (BWV 6, 42, 85, 79, 76a, 75a, 1135=Anh. 199); three Salomo Franck (BWV 168, 164, 72); Erdmann Neumeister, BWV 24, Johann Friedrich Helbig, BWV 47. various (BWV 27). and anonymous (BWV 22, 51).? Bach also produced mini-cycles involving concerted organ obbligato instruments, psalm and psalm-paraphrases, and special obbligato instruments.

Trinity Time 1725:? Diversified Compositions

Instead of presenting chorale cantatas in the spring of 1725 to complete his homogeneous 2nd cycle, Bach switched gears and presented the Johannine Theology mini-cycle of nine cantatas?(Jubilate, Cantata, Rogate, and Exaudi Sundays after Easter; Ascension feast, Pentecost 3-day feast, and closing with Cantata 176 on Trinity Sunday feast (27 May) which became part of his third cycle of heterogeneous church-year cantatas.? Having produced cantatas virtually weekly in the church-years 1723/24 and 1724/25, Bach took a break during the Trinity Time second half of the church year from the 1st to the 26th Sunday after Trinity (25 November).? He began to diversify his compositions, turning to an array of diverse instrumental music, family music, extended compositions such as annual oratorio Passion, and profane music of serenades and drammi per musica, as well as selectively composing a third church cantata cycle, based primarily on pre-existing librettos, spread over a period of two years while he took time to compose his monumental St. Matthew Passion for Good Friday 1727. ?

The early part of Trinity and Time in the first two cycles proved to be a challenge for Bach since the single fixed feast days of John the Baptist (June 24) and the Marian Feast of the Visitation (July 2) fell during the set days of Sundays after Trinity.? In the first cycle 1723/24 (), St. John's Day on Thursday (June 24) fell before the 6th Sunday after Trinity (July 4) when no performance was found.? The fixed feast of the Visitation was observed on Friday (July 2) with two-part Cantata 147 and the Magnificat in E-Flat, BWV 243.? Then for the early Trinity time in the second cycle of 1724/25(), the services of the fixed feast days and most Trinity Sundays were observed with new chorale cantatas except for the 4th Sunday after Trinity which also was the feast of the Visitation on July 2 when Visitation Cantata 10 was presented but "therefore no cantata for Sunday," while the 6th Sunday after Trinity fell on July 16 when there was "No evidence of a cantata performance." ?

Bach Music at St. Paul University Church, Leipzig New Church

Although Bach cantata performances seemed restricted, as Leipzig music director, he had the opportunity to present cantatas beyond the usual alternation between the two leading Leipzig churches of St. Nikolaus and St. Thomas.? On the three-day multi-day feasts of Christmas, Easter, and Pentecost Bach was able to present special music at the St. Paul University Church while Bach was welcomed to present music at the progressive Leipzig New Church with music director Georg Balthasar Schott which favored the works of Telemann.? Thus, Bach took his first vacation two years after coming to Leipzig on Pentecost Sunday 1723.? <<At the beginning of the new St. Thomas School Year (3 June 1725, 1st Sunday after Trinity), Bach arranged for the presentation of extant cantatas of various composers at least for the next six weeks, often without elaborate choruses. The first two Sundays after Trinity entailed abridged and altered versions of Bach's first two Cycle 1 cantatas: BWV 75a, Part 1 only, beginning with the first recitative, "Was hilft des Purpurs Majest?t" (What use are royal robes [lit.purple]" and closing with the chorale No. 7, “Was Gott tut, das ist wohlgetan” (What God does, that is well-done, ). For the 2nd Sunday after Trinity (10 June) Part II of Cantata 76a was presented, opening with the sinfonia (No. 8, see ), followed by the bass recitative, “Gott segne noch die treue Schar” (May God bless his faithful flock, ). Previously, BWV 76a (Part II) may have been used as early as the 31 October 1724, Reformation Festival in St. Paul's University Church, says Robin A. Leaver, possibly on a double bill with Telemann's cantata/motet, Der Herr ist K?nig (The Lord Is King, Ps. 97:1), TWV 8:6>> (source, :? scroll down to "Trinity Time Beginning 1725: Bach, Telemann Works.").

Telemann Compositions

Bach arranged for Schott to present the following works in early Trinity Time, based on a libretto book described by William H. Scheide² (:? Trinity 3, 17 June 1725, ?Telemann "Ich ruf zu dir, Herr Jesu Christ," TVWV 1:857 (?possible composition of Aurora von K?nigsmarck, mistress of Augustus II, “the Strong,” Saxon Court); Trinity 4, 24 June 1725, ?Telemann, "Gelobet sei der Herr," TVWV 1:596 (Erdmann Neumeister text 1711, but "St. John's Day (June 24) was not observed in 1725" while "the text is engraved for the 4th Sunday after Trinity"); Trinity 5, 1 July 1725, ?Telemann, "Der Segen des machet reich ohne Muhe," TVWV 1:310 (Neumeister text 1711); Visitation (2 July 1725), "Meine Seel erhebt den Heer," Luther's German Magnificat text, identified as a possible 1716 composition of Reinhard Keiser or Johann Mattheson of Hamburg, previously thought to be Melchior Hoffmann, BWV Anh. 21 (, ); Trinity 6 (8 July 1725); "Wer sich rachet," TVWV 1:1600 (Neumeister text 1711).? The one Telemann work with a direct link to Bach is "Der Herr ist K?nig" (The Lord is King; text author and purpose unknown), TVWV 8:6 or I:deest, found in Bach's musical library. It is possible that Bach performed this work on Easter Sunday (1 April 1725) at the University Church of St. Paul where he was responsible for feast-day presentations.

Third Church Year Cantata Cycle Takes Shape

The Spring 1725 period involved new cantatas for the Easter Season, many composed or planned a year earlier, including the Johannine Theology mini-series of Jesus' Last Farewell to His Disciples (Jubilate to Trinity Sunday) (see beginning 1725-04-01 So (Easter Sunday), Easter Oratorio, BWV 249; Easter Monday, Cantata 6; Easter Tuesday, no performance recorded, possibly Cantata 145; 1st Sunday after Easter (Quasimodogeniti), Cantata 42; 2nd Sunday after Easter (Misericordias Domini), Cantata 85; 3rd Sunday after Easter (Jubilate), Cantata 103; 4th Sunday after Easter (Kantate), Cantata 108; 5th Sunday after Easter (Rogate), Cantata 87; Ascension feast (Christi Himmelfahrt), Cantata 128; 6th Sunday after Easter (Exaudi), Cantata 183; Pentecost Sunday, Cantata 74; Pentecost Monday, Cantata 68; Pentecost Tuesday, Cantata 175; and Trinity Sunday festival, Cantata 176. ?

While he was completing the Easter Season with the Johannine Theology nine cantatas, Bach began planning the rest of his homogeneous third church year cantata cycle of striking mini-cycles by librettists Christoph Birkmann, Georg Christian Lehms, Rudolstadt/Meinengen (Helms), Picander, Christian Weiss, Salomo Franck, Erdmann Neumeister, and Johann Friedrich Helbig.? He also supplemented this with two-part cantatas of cousin Johann Ludwig Bach (JLB 1-19, ) to fill in gaps in the seasons of Epiphany, Easter, and Trinity.? In this third cycle there were some 40 original works and 19 Ludwig Bach Cantatas as outlined in Wikipedia, :? scroll down to "J.?S. Bach's 3rd, 4th and 5th year as director musices in Leipzig" (1725-28).

?Early Trinity Time Special Events

In these discussions on the chorale cantata cycle 1724/25, there are two topics that merit interest: +Trinity Time special events in today's Revised Common Lectionary such as Sunday services, apostles days and occasional observances (see ).? The Trinity Time Lectionary () lists each cantata as found in Hans-Joachim Schulze's Bach cantata study³ and continues with the 5th Sunday after Trinity (6th Sunday after Pentecost):? Year B Mark gospel 5:21-43 (Christ heals woman & Jairus' daughter, , Proper 8 (13), 30 June 2024), preferred Cantata 109 (), alternate Cantata 26 ().? Year C Luke Gospel 9:51-62 (Jesus says, Follow me, ; Proper 8 (13), 29 June 2025), preferred Cantata 12 (), alternate Cantata 146 ().? Year A Matthew Gospel 10:40-42 (Welcome Christ in those Christ sends, Proper 8 (13), 28 June 2026, preferred Cantata 111 (), alternate Cantata 184 ().? 6th Sunday after Trinity (7th Sunday after Pentecost):? Year B Mark gospel 6:1-13 (Twelve sent to preach & heal, , Proper 9 (14), 7 July 2024), preferred Cantata 126 (), alternate 183 ().? Year C, Luke Gospel 10:1-11, 16-20 (Jesus sends 70 disciples, , Proper 9 (14), 6 July 2025, preferred Cantata 44 (), alternate Cantata 139 ().? Year A, Matthew Gospel 11:16-19, 25-30 (Yoke of discipleship, , Proper 9 (14), 9 July 2026), preferred Cantata 113 (), alternate Cantata 155 ().? 7th Sunday after Trinity (8th Sunday after Pentecost):? Year B, Mark Gospel 6:14-29 (Death of John the Baptist, :? Proper 10 (15), 14 July 2024), preferred Cantata 60 II (), alternate Cantata 20 I ().? Year C, Luke Gospel 10:25-37 (Parable of merciful Samaritan, , Proper 10 (15), 13 July 2025), preferred Cantata 164 (), alternate Cantata 77 ().? Year A Matthew gospel 13:1-9, 18-23 (Parable of sower and seed, , Proper 10(15), 12 July 2026, preferred Cantata 18 (), alternate Cantata 181 ().? 8th Sunday after Trinity (7th Sunday after Pentecost):? Year B Mark gospel, 6:30-34, 53-56 (Christ healing multitudes, , Proper 11 (16), 20 July 2024), preferred Cantata 13 (), alternate Cantata 3 ().? Year C, Luke Gospel 10:38-42 (Choosing the better part, , Proper 11 (16), 20 July 2025), preferred Cantata 3 (), alternate Cantata 186 ().? Year A, Matthew Gospel 13:24-30, 36-43 (Parable of the weeds, , Proper 11 (16), 19 July 2026), preferred Cantata 92 (), alternate Cantata 174 ().? 9th Sunday after Trinity (8th Sunday after Pentecost):? Year B, John gospel 6:1-21 (Jesus feeds 5000, , Proper 12 (17), 28 July 2024, preferred Cantata 21/1 (), alternate, Cantata 177 ().? Year C, Luke Gospel 11:1-13 (Jesus teaches prayer, , Proper 12 (17), 27 July 2025), preferred Cantata 86 (), alternate Cantata 87 ().? Year A, Matthew gospel 13:31-33, 44-52 (Parables of reign of heaven, , Proper 12 (17), 26 July 2026), preferred Cantata 71 (), alternate Cantata 69.2 I ().? 10th Sunday after Trinity (9th Sunday after Pentecost):? Year B, John gospel 6:24-35 (Christ, bread of life, , Proper 13 (18), 4 August 2024), preferred Cantata Cantata 21/2 (), alternate, Cantata 186 ().? Year C, Luke Gospel 12:13-21 (Be rich toward God, your treasure, , Proper 13 (18), 3 August 2025), preferred Cantata 94 (), alternate Cantata 29 ().? Year A, Matthew Gospel 14:13-21 (Jesus feeds 5000, , Proper 13 (18), 2 August 2026), preferred Cantata 196 (), alternate 186 ().? 11th Sunday after Trinity (10th Sunday after Pentecost):? Year B, John gospel 6:35, 41-51 (Christ, Bread of Life, , Proper 14 (19), 11 August 2024), preferred Cantata 84 (), alternate Cantata 196 ().? Year C, Luke gospel 12:32-40 (Treasure of the kingdom, : Proper 14 (19), 10 August 2025), preferred Cantata 115 (), alternate Cantata 140 ().? Year A, Matthew Gospel 14:22-33 (Jesus walking on the sea, :? Proper 14 (19), 9 August 2026), preferred Motet 228 (), alternate Cantata 92 ().? 12th Sunday after Trinity (11th Sunday after Pentecost):? Year B, John gospel 6:51-58 (Christ, true food and drink, :? Proper 15 (20), 18 August 2924), preferred Cantata 27 (), alternate 186 ().? Year C, Luke Gospel 12:49-56 (Jesus brings fire on earth, :? Proper 15 (20), 15 August 2025), preferred Cantata 146 (), alternate Cantata 116 ().? Year A, Matthew gospel 15:10-28 (Canaanite woman's daughter is healed, :? Proper 15 (20), 16 August 2026), preferred Cantata 51 (), alternate Cantata 152 ().? 13th Sunday after Trinity (12th Sunday after Pentecost):? Year B John gospel 6:56-69 (Bread of eternal life, :? Proper 16 (21), 25 August 2024), preferred Cantata 49 (), alternate Cantata 163 ().? Year C, Luke Gospel 13:10-17 (Jesus heals on sabbath, , Proper 16 (21), 24 August 2025), preferred Motet BWV A-160 (, alternate Cantata 148 ().? Year A, Matthew Gospel 16:13-20 (Profession of Peter's faith, : Proper 16 (21), 23 August 2026), preferred Cantata 92 (, alternate Cantata 174 ().? 14th Sunday after Trinity (13th Sunday after Pentecost):? Year B, Mark gospel 7:1-8, 14-15, 21-23 (Authentic religion, :? Proper 17 (22), 1 September 2024):? Cantata 131 (, alternate Cantata 132 ().? Year C, Luke Gospel 14:1, 7-14 (Israel forsakes the Lord, :? Proper 17 (22), 31 August 2025), preferred Cantata 47 (), alternate Cantata 114 ().? Year A, Matthew Gospel 18:15-20 (Rebuke to Peter, :? Proper 17 (23), 30 August 2026), preferred Cantata 22 (), alternate Cantata 166 ().

Special single-day festive events during earlier Trinity Time:? Mary, Mother of Our Lord, August 15, Gospel Luke 1:46-55 (Magnificat, ), preferred Cantata 1 (; Bartholomew, Apostle, August 24, Gospel John 1:43-51 (Follow me, Philip & Nathanael, , preferred Cantata 79 (). ?

BACH for Future:? Newly Commissioned Works

+Musical explorations of newly-commissioned works is the theme "BACH for Future" of the 1723 Bachfest Leipzig, "BACH for Future" (see ), with two that stand out, Landsgemeindekantate (Country community cantata) in the style of a Bach chorale cantata with the title "Alles Leben str?mt aus dir" (All life flows from you), and "J. S. Bach — The Apocalypse — The opera Bach never wrote," from the Netherlands Bach Society and OPERA2DAY, an original work using quotations from Bach works.? Mini operas are found in various Bach profane cantatas, the latest being Cantata 213, "Herkules auf dem Scheidewege" (Hercules at the Crossroads), a dramma per musica entitled "Lasst uns sorgen, lasst uns wachen" (Let us watch him, let us guard him), details at , with a related article just released, a new text and translation, "Lasst uns sorgen, lasst uns wachen" BWV 213 (/g/Bach/topic/108106101).? Other Bach secular cantatas with operatic scenes are Cantatas 201, , ; Cantata 205.1, , ;? Coffee Cantata 211, ; Peasant Cantata 212, ; Cantata 214, ; BWV 249.1, .

New Drammi per Musica

Among the other drammi per musica with opera connections realized in parody (new text underlay) from existing work are: J?rg Widmann, Kantate "War and Hope,"⁴ peace cantata from Cantata 75, "Die Elenden sollen essen" ("The Wretched Shall Eat"), for the 1st Sunday after Trinity; Bach Requiem "Et Lux"⁵ is a pasticcio from Bach cantata movements with new texts by Thomas Kunst with unifying chorale "Wer nur den Lieben Gott l??t Walten" (Whoever lets only the dear God reign), described as :? scroll down to 49); "Judas"⁶ is a pasticcio tenor aria cantata with Benedickt Kristjánsson eight arias and five recitatives using passages from the novel Judas by Amos Oz (); a description of Rudolf Lutz's Bach-Luther-Kantate ⁷ is found at ): scroll down to "Original Compositions."? Soon afterwards, Lutz with his librettist Graf wrote another cantata "in a style inspired by Johann Sebastian Bach, the Landsgemeinde [Country community] cantata,"⁸ which premiered in April 2018 in St. Gallen, with the title "Alles Leben str?mt aus dir" (All life flows from you). In the style of a nine-movement chorale cantata (see tracklist, footnote 5), it recreates a Swiss community assembly. "It is an hommage to this ancient ritual of direct democracy," says the discussion video, . The impetus for these extended cantatas began in 2011 when the J. S. Bach Foundation, as part of its 25-year project to record all of Bach' works, directed Arthur Godel and Lutz to compile "a thematic collage of selected [well-known] movements from cantatas and instrumental works," called "Bach Im Fluss"^{9 —} "Bach and the river of time," contemplations on life and eternity, says the description (). The 25 movements (see tracklist, footnote 5) includes arias, recitatives, chorales, and choruses as well as instrumental sinfonias, sonatas, solo, and keyboard movements.?

ENDNOTES ?

¹ Mariane von Ziegler Spring 1725 Johannine Theology Monographs:? Eric Chafe, J. S. Bach''s Johannine Theology:? The St. John Passion and the Cantatas for Spring 1725 (Oxford:? Oxford Univ. Press, 2014), , ; Mrk A. Peters,? A Woman's Voice in Baroque Music:? Mariane von Ziegler and J. S. Bach (London:? Routledge, 2016), .

² William H. Scheide, "The Relationship of the Printed Texts Books and the Musical Sources of Johann Sebastian Bach's Church Cantatas," in Bach Jahrbuch 1976 (Leipzig:? B?renreiter:? 79ff), ; source:? Wolf Hobom, "Neue Texte zur Leipziger Kirchen-Musik," Bach Jahrbuch 1973:? 5-32; source, .

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

⁴ J?rg Widmann, Kantate "War and Hope":? commission, ; details found at ; chorale-like varied texts of five writers, ; score, .?

⁵ Bach Requiem "Et Lux": Julia Wagner descriptions, , ; Bachfest Leipzig notes: : 49. Bach Requiem Mass, :? Trailer recording, ; for another Bach Requiem, see? "Bach Works Projects," Joseph James' Requiem After J. S. Bach framed by the Chromatic Fantasy in D Minor (). ?

⁶ "Judas — A Pasticcio," Arias and Recitatives by Bach, description: : 51; Novello Classics (recording, playlist, ), .?

⁷ Bach-Luther-Kantate, "Von der Freiheit eines Christenmenschen" (On the Freedom of a Christian), ed. Rudolf Lutz, libretto Karl Graf (St. Gallen: J. S. Bach Stiftung, 2021); liner notes, text (17) : 14-20; Lutherkantate wikipedia, ; discussion, .

⁸ Landsgemeindekantate: Lutz and Graf discuss the ?Lan? J. S. Bach-Stiftung, ; description, , ; recording, ; tracklist, .?

⁹ Bach in Fluss: description, ; program & text notes : D-50; recording with playlist, , .

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To Come:? Chorale Cantata Cycle: Middle-Late Trinity Time