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Bach was fully prepared in Leipzig to create a chorale cantata cycle, as his cantor predecessors and colleagues had done, although not required to. Although lacking a university degree which prejudiced him against his employer, the Pfennig-pinching Leipzig Town Council, Bach was thoroughly versant in Latin, had passed his theology exam with the Leipzig Lutheran Consistory, and was a thorough musician as a teacher composer, conductor, renowned organist and organ builder. In the field of the German chorale, he had no equal. As church organist, he had created such works as the chorale-partita-designed composer of Easter Cantata 4,1 "Christ lag in Todes Banden," he had built a repertory of organ chorale works such as the Orgelbüchlein, Neumeister Chorales, and the "Great 18" Leipzig Chorales. Other early cantatas used instrumental and vocal chorales in Cantatas 71, 106, and 131, and he began in Weimar closing his church cantatas with plain chorales in Cantata 18 (c1713). Meanwhile, he began his Passion studies with the Brauns "Markus Passion," BWVV 1166.1 (https://www.bach-cantatas.com/Other/Brauns-Markus-Passion.htm) and his own Weimar-Gotha Passion, BWV deest (BC D 1, https://en.wikipedia.org/wiki/Weimarer_Passion). Bach observed Martin Luther's dictum that parents teach their children the Catechism and related hymns, creating family music books for eldest son Friedemann, (Klavierbüchlein für Wilheln Friedemann Bach, https://www.bach-cantatas.com/NVD/AMN.htm) and second wife Anna Magdalena (Notenbüchlein für Anna Magdalena Bach, 1725; https://www.bach-cantatas.com/Vocal/BWV508-523.htm). Cycle 1 Proto-Chorale Cantatas Finally, in his first church-year cantata cycle, Bach created proto-chorale cantatas beginning with his Estomihi probe Cantatas BWV 22 and 23, with closing chorale choruses in the style of the opening chorale chorus fantasias in 27 mostly de tempore chorale cantatas (They are: BWV 1, 2, 7, 8, 10, 14, 20, 26, 33, 41, 62, 78, 96, 99, 111, 114, 115, 116, 121, 123, 124, 127, 130, 133, 135, 138, 139; source, https://www.bach-cantatas.com/Topics/Cycle-2.htm#google_vignette: scroll down to paragraph beginning "The most used category. . . ."). In the first cycle, Bach set 32 cantatas with elements of the chorale cantata such as tropes, multiple insertions, hybrid and poetic materials, and elaborate closing choruses in his newly-composed cantatas. The next category were interpolated chorale and poetic recitative materials "treated in various ways and usually found during the omnes tempore Trinity Time having lesser-known chorales. The most common insertions are the chorale trope in the recitative found in seven cantatas: BWV 3, 38, 91, 94 (2 tropes), 122, 125, and 126. In eight cantatas Bach used multiple insertions, with as many as two troped recitatives and a separate chorale aria in BWV 92, 93, 101, 113, 122, 125, 126, and 178. Cantata 180 has a troped recitative and chorale aria. Bach also had made effective use of hybrid chorale and poetic materials in original Leipzig Cantatas BWV 43, 95, and 173 while Trinity 15 Cantata 138 comes closest to the typical chorale cantata with three extended, troped chorale choruses (Nos. 1, 2-3, 4-5). Interestingly, another 12 earlier cycle 1 compositions have elaborate closing chorale choruses (BWV 75, 76, 25 and 49 in two parts; 23, 48, and 190 in different arrangements of the same chorale; and 77, 25, 48, and 107 in wordless instrumental chorales sounded in choruses. Bach composed only one chorale cantata of the second cycle, BWV 107 for Trinity 7, that has a closing chorale chorus, instead of the usual plain chorale setting. It also is Bach’s only Cycle 2 example of a complete original hymn text setting (seven stanzas), called per omnes versus, in one internal recitative and four successive arias. The reason for this sole example is that perhaps on this occasion Bach’s librettist was for some reason unable to supply the usual hymn paraphrase. Trinity 1 Chorale Cantata 20, O Ewigkeit, du Donnerwort Bach's plan for his first chorale cantata opening the second church-year cycle is

CD reviews: - "Un air d'Italie - The mandolin in Paris in the 18th century" Marc Mauillon, Pizzicar Galante - "The mandolin in London" Marina Bartoli, Artemandoline Arne: "Organ Concertos (1751)" Andrzej Mikolaj Szadejko, Goldberg Baroque Ensemble JM Haydn: Kaiser Constantin I. Feldzug und Sieg Soloists, Purcell Choir, Orfeo Orchestra/Gy?rgy Vashegyi "Maltese sacred music of the 18th century" Ensemble Auditorium Pacis/Diego Cannizzaro, organ Schütz: "Schwanengesang" (SWV 482-494) La Capella Ducale, Musica Fiata/Roland Wilson see: http://www.musica-dei-donum.org --- Johan van Veen e-mail: jvveen@... / jvveen2010@... twitter: musica Dei donum / Johan van Veen bluesky: musica Dei donum / Johan van Veen Facebook: musica Dei donum / Johan van Veen website: musica Dei donum weblogs: The Musical Clock Critica Musica Hortus Musicus

As Bach prepared for his ultimate compositional challenge in the late spring of 1724 in Leipzig, a church year homogeneous cycle of unique chorale cantatas, he encountered various other challenges. As cantor at St. Thomas School he was also responsible for teaching students musical performance, both vocal and instrumental, and composition while he also had created a body of instrumental collections and sought further pursuits. He also was responsible for all bridal Mass settings and funeral works, as well as for major works such as the annual oratorio Passion. As Leipzig music director, Bach was provided profane congratulatory works for Leipzig University functions, which he had neglected (see https://www-unimusik-uni--leipzig-de.translate.goog/universitaetschor/festmusiken?_x_tr_sl=de&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=sc), as well as other Leipzig patrons and leaders. Thus Bach was engaged in a balancing act. Beyond the almost weekly requirement for a new cantata with a new text whose actual chorale and movement choices he also dictated in advance, Bach also had to seek a librettist for his annual Passion as well as plans for other major works such as a feast day oratorio for Easter and a suitable librettist for secular drammi per musica. Meanwhile, he increasingly brokered plans for further compositions, both sacred and profane which he was often unable to complete or are lost, as found in the new Bach Werke Verzeichnis, BWV 3, works catalogue (https://www.bach-cantatas.com/Topics/BWVSystem-4.htm). Consequently, Bach was mastering certain principles and templates to further his ambitious agenda. One was the concept of compositional unity through diversity and the underlying, supportive activity of recycling previously-composed works to help fill the void, an activity still questioned by some Bach scholars who consider self-parody (new-text underlay) to be little more than self-plagiarism. In order to advance the concept of the church-year cantata (and its extended oratorio) as a musical sermon, Bach found published theological commentaries on various subjects and incorporated them into his cantatas, along with (one assumes) working collaboration with his librettists and the primary pastors whose sermons on the service's liturgy followed the cantata before communion. Trinity Time Teachings Bach faced a special challenge with the chorale cantata. Here, the musical theme and substance were dictated by the textual poetic stanzas and the underlying message of the hymn's author. The internal stanzas of the hymn were paraphrased as recitatives and arias to Bach's accompanying music, rather than madrigalian settings reflecting the service's liturgical teachings, a particular requirement in the services of the first half of the church year, de tempore (proper time) on the ministry of Jesus Christ, especially during Christmas and Easter, in contrast to the other half, omnes tempore (usual time), Trinity Time, on the teachings of the church, Martin Luther's New Testament teachings in his Catechism and general Christian themes, such as “Christian Life and Conduct” and “Trusting in God, Cross and Consolation.” For this half which Bach undertook for the some 26 services beginning with the 1st Sunday after Trinity, now known as the 2nd Sunday after Pentecost, Bach had a special template, "Trinity Time Thematic Patterns in the Gospels." Instead of dramatic gospel narrative, the Trinity Time services focus 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. There is also a series of groupings which would have been part of the critical apparatus of both theologians and musicians such as Bach who had such a finely-tuned ear for the literary shape of scriptural passages. A brief outline of the half season: 1) Sundays after Trinity 1-4 is a four-week sequence of parables; 2) Trinity 5-8 has a series of paired miracles and

CD reviews: Gilles: Messe des morts Soloists, Les Pages & Les Chantres du Centre de musique baroque de Versailles, Les Folies Fran?oises/Fabien Armengaud Handel: - "Ballo per Orchestra - Overtures & Arias" Capriccio Barockorchester/Dominik Kiefer - Concerti grossi Op. 6 Accademia Bizantina/Ottavio Dantone - "Water & Fire" B'Rock Orchestra/Dmitry Sinkovsky - Richard Jones: "6 Harpsichord Suites" Francesco Fornasaro, harpsichord - Roseingrave: "Eight Harpsichord Suites and other keyboard works" Bridget Cunningham, harpsichord - Worgan: "Complete Harpsichord Music" Julian Perkins, Timothy Roberts, harpsichord see: http://www.musica-dei-donum.org --- Johan van Veen e-mail: jvveen@... / jvveen2010@... twitter: musica Dei donum / Johan van Veen bluesky: musica Dei donum / Johan van Veen Facebook: musica Dei donum / Johan van Veen website: musica Dei donum weblogs: The Musical Clock Critica Musica Hortus Musicus

We are pleased to add a new text and translation: “Christ unser Herr zum Jordan kam” BWV 7 http://BachCantataTexts.org/BWV7 BachCantataTexts.org is a freely available source for new historically-informed English translations of J. S. Bach's vocal works, prepared and annotated by Michael Marissen (Swarthmore College, emeritus) and Daniel R. Melamed (Indiana University, emeritus/Bloomington Bach Cantata Project).

Bach's plan for a homogeneous church year unique chorale cantata cycle, initially conceived in the summer of 1723 when he was presenting his first, heterogeneous cycle, was a most challenging undertaking. It began a year later on the 1st Sunday after Trinity, 11 June 1724, the start of the omnes tempore (ordinary time) Trinity Time, second half of the church year on the life and teachings of the church when Bach selected the most appropriate chorale for each of the some 30 services, secured a librettist to write poetic paraphrases of the internal stanzas, and observed 1724 as the bicentenary of Luther’s foundational three hymnals first published in 1524. The basic goal was another cycle of some 60 services on Sundays and feast days with Bach pacing himself at the composer's desk. Bachfest Leipzig 1724 just completed the chorale cantata cycle with 52 works in 16 concerts (https://www.bach-cantatas.com/Articles//Bachfest-Leipzig-1724.htm). Chorale Cantata Challenges The first cycle had yielded some 30 previously composed cantatas from Weimar and C?then with some musical and textual adjustments and the composition of 30 new works, primarily chorus cantatas. Bach designed the first cycle as a series of new cantatas with mini-cycles of movement structures: opening biblical text, closing plain chorale with alternating internal recitatives and arias with two-thirds having an added internal plain chorale (see https://www.bach-cantatas.com/Topics/Leipzig-Cantata-Cycles-1&2.htm: "Heterogeneous Cantata Cycle 1"). Where the initial cycle had 30 new works now for the Chorale Cantata (CC) second cycle, Bach would begin composing 60 new works, a doubly ambitious challenge. He composed new chorale cantatas for the initial 40 services through the feast of the Annunciation of Mary on 25 March 1725 during Lent, followed with a repetition of Cantata BWV 4.2 on Easter Sunday (the schedule is outlined at https://www.carus-verlag.com/en/bach-1724-1725/) while the current Bachfest Leipzig 1724 proceeds with a series of 16 chorale cantata concerts involving 52 services of chorale cantatas, an incomplete cycle of 1724/25 (https://www.bach-cantatas.com/LCY/1724.htm, https://www.bach-cantatas.com/LCY/1725.htm). Besides the 41 cycle services are 10 later added Chorale Cantatas (BWV 128, Ascension; BWV 68, Pentecost Monday (assigned to chorale cantata cycle); BWV 137, Trinity 12 (POV 1725); BWV 129, Trinity Sunday (POV 1726-27); BWV 112, 2nd Sunday of Easter (POV 1729, 31); BWV 140, for rare Trinity 27 (POV-CC 1731); BWV 177, Trinity 4 (POV, ?1725 or 1732); BWV 9, Trinity 6 (CC c1732-35); BWV 58, Sunday after New Year (incl., assigned to chorale cantata cycle, 1727); and BWV 14, Epiphany 4 (CC, 1735). There are five works not assigned to the Chorale Cantata cycle, four of which are without CC designation: BWV 80, Rerformationfest (1739; CC plus trope, two recits, 2 arias); BWV 117 (?? 5th Sunday of Easter, ?wedding; POV 1730-35); BWV 192 (?Reformationfest, ?wedding; POV, 1730); BWV 97 (??6th Sunday of Easter, ?wedding; POV, 1734); and BWV 100 (?Trinity 15, ?? 3rd Sunday in Easter, ??wedding; POV, 1732-35). Proto Chorale Cantatas In addition to these 55 chorale cantatas, there are others in the first or third cycle that have some makings of a proto chorale cantata, such as an opening chorale fantasia chorus and closing plain chorale or chorale melody, and internal arias-recitatives, showing Bach's rich versatility and invention. These works began with his probe pieces, Cantatas 22 (https://www.bach-cantatas.com/BWV22.htm) and 23 (https://www.bach-cantatas.com/BWV23.htm) for pre-Lenten Quinquagesima Estomihi Sunday, 7 February 1723, originally a two-part cantata, separated into two cantatas. "They use closing extended chorale choruses in the basic format of ritornelli episodes in two parts, a homophonic four-part chorus and elaborate instrumental accompaniment. These were the precursor of the opening chorale chorus fantasia found in almost all Bach’s chorale cantatas. Cantata 23 also has a tenor recitative with cantus firmus in a four-part instrumental

CD reviews: JS Bach: "Cantatas BWV 78, 96, 100, 122, 127, 130, 180" Soloists, Chorus Musicus K?ln, Das Neue Orchester/Christoph Spering Daser: - "Missa Pater noster & other works" Cinquecento - "Polyphonic Masses" Huelgas Ensemble/Paul Van Nevel "In Sara Levy's Salon - Chamber Music for Viola" Francesca Venturi Ferriolo, Anna Kaiser, Tommaso Toni, Johannes Berger, Seulki Baea, Andreas Gilger Weblog: French keyboard music of the rococo: Foucquet, Dufour, Beauvarlet-Charpentier, Parant (Fernando De Luca, Eva del Campo) see: http://www.musica-dei-donum.org --- Johan van Veen e-mail: jvveen@... / jvveen2010@... twitter: musica Dei donum / Johan van Veen bluesky: musica Dei donum / Johan van Veen Facebook: musica Dei donum / Johan van Veen website: musica Dei donum weblogs: The Musical Clock Critica Musica Hortus Musicus

The Bachfest Leipzig 1724 ( https://archive.newsletter2go.com/?n2g=d5om1cdz-n3vbm01t-i27) runs from June 7 to 16 ( https://www.bachfestleipzig.de/en/bachfest/2024/konzerte) with three-hundred anniversaries of Bach's 2nd annual chorale cantata cycle of 66 cantatas in 16 concerts (https://www.bachfestleipzig.de/en/bachfest/cycle-chorale-cantatas-16-concerts), and the tricentennial of his first Passion oratorio, St. John Passion, BWV 245.1, as well as other special events such as s special exhibit, Voices of Women from the Bach Family at the Leipzig Museum (https://www.bachmuseumleipzig.de/en/bach-museum/voices-women-bach-family), and a premiere of a stage production of the Nederlandse Bachvereniging, "J. S. Bach –The Apocalypse: The opera Bach Never Wrote" (https://www.bachfestleipzig.de/en/bachfest/j-s-bach-apocalypse), on June 11 (https://www.bachfestleipzig.de/en/bachfest/no-72-j-s-bach-apocalypse), concludes special commissions of new Bach works (see https://www.bach-cantatas.com/Articles/Musical-Explorations.htm) from 2023. A roundup of the 2024 Bachfest Leipzig is provided by Prof. Dr. Michael Maul, artistic director (https://www.bachfestleipzig.de/en/bach-festival/bach-triegel-dialogue). A special event is the Bach Network presentation at the Leipzig Bachfest, 15 June 2024, "Bach Network in Dialogue, details at https://www.bachfestleipzig.de/en/bachfest/no-130-bach-network-dialogue. Hopefully, this event will be available soon on-line as Discussing Bach 7. The Bach Network biannual Dialogue Meeting will be held July 7-10 at Madingley Hall, Cambridge. Bachfest Leipzig 2024: Chorale Cantata Cycle, Etc. A special overview of 2024 Bachfest Leipzig is found in "Bach 300: The chorale cantata year-cycle and the St. John Passion," by Dr. Uwe Wolf, Carus-Verlag chief editor (https://blog.carus-verlag.com/en/choral-works-in-focus/the-chorale-cantata-year-cycle-and-the-st-john-passion/). Also available is the Carus-Verlag Bach 1724/25 chorale cantata cycle calendar (https://www.carus-verlag.com/en/bach-1724-1725/) with the 40 chorale cantatas from the 1st Sunday after Trinity (BWV 20), 11 June 1724, to the Feast of the Annunciation of Mary on 25 March 1725 (BWV 1). This cycle includes the 2nd version of the St. John Passion, BWV 245.2, on Good Friday, 30 March 1725. "It is not known wether the second version of the St. John Passion, BWV 245.2 with its large-scale chorale choruses was already planned or wether it was a fallback solution," says the unsigned commentary. Perhaps it was both, see Eric Chafe''s J. S. Bach's Johannine Theology: The St. John Passion and the Cantatas for Spring 1725 (Oxford: Oxford University Press: 2014, https://www.amazon.com/J-S-Bachs-Johannine-Theology/dp/0199773343). Another non-cantata presentation is the earliest version of the Easter Oratorio, BW 249.3, on Easter Sunday, 1 March 1725, on a double bill with chorale Cantata BWV 4.2, "Christ lag in Todesbanden. The notes mistakenly say, "The [second] cantata cycle continued from Easter Monday to Misericordias Domini [2nd Sunday after Easter] with three cantatas on texts of unknown origin [BWV 6, 42, 85]. From Jubilate to Trinity Sunday is a series of nine cantatas by the Leipzig poet Christiane Mariane von Ziegler (https://www.bach-cantatas.com/Lib/Ziegler.htm). None of these dozen works is a chorale cantata or is part of the 2nd cycle but instead is part of the succeeding 3rd cantata cycle of 1725-27, based on the musical manuscript division to Bach's family in 1750 (see https://www.bach-cantatas.com/Topics/Cycle-3-P02.htm: scroll down to "Event, Date, Title, Type, Librettist, Distrib. CPEB WFB/JCB [S=Score, P=Parts, ?=Lost]"). Two recent collections of the Bach sacred cantatas1 also place these works in the third cycle. First Two Cantata Cycles A comparison and contrast involving Bach's first two cantata cycles, primarily involving the musical structure and text librettists is found at the Bach Cantatas Website discussion Bach Mailing List, https://www.bach-cantatas.com/Topics/Leipzig-Cantata-Cycles-1&2.htm#google_vignette. Essentially, the firs

CD releases: June 2024 CD reviews: Buxtehude: "Wenn ich nur Dich habe" La Chapelle de Saint-Marc/Vincent Bernhardt JF Fasch: - "Concertos" Il Gardellino - "Fasch's Oboe - Music at the Zerbst Court" Musica Gloria/Nele Vertommen - "Sonatas" Ensemble Barucco/Andreas Helm "The Feast of the Swan - A Renaissance brotherhood at table" Cappella Pratensis/Stratton Bull; Sollazzo Ensemble/Anna Danilevskaia "Oh, ma belle brunette" A nocte temporis/Reinoud Van Mechelen see: http://www.musica-dei-donum.org --- Johan van Veen e-mail: jvveen@... / jvveen2010@... twitter: musica Dei donum / Johan van Veen bluesky: musica Dei donum / Johan van Veen Facebook: musica Dei donum / Johan van Veen website: musica Dei donum weblogs: The Musical Clock Critica Musica Hortus Musicus

Live from Leipzig and the 2024 Bachfest, we are pleased to add a new text and translation of a work from Bach's 1724-25 cycle of cantatas based on hymns, being celebrated here in a complete performance over 16 concerts. “Wie sch?n leuchtet der Morgenstern” BWV 1 http://BachCantataTexts.org/BWV1 BachCantataTexts.org is a freely available source for new historically-informed English translations of J. S. Bach's vocal works, prepared and annotated by Michael Marissen (Swarthmore College, emeritus) and Daniel R. Melamed (Indiana University, emeritus/Bloomington Bach Cantata Project).

Georg Philipp Telemann in Hamburg was the model for Bach in Leipzig. Telemann was cantor of the Johanneum School and music director of the city's five principal churches while Bach was cantor of the Thomas School and music director of four Leipzig churches. Both also composed profane music for their areas' nobility, what Bach called drama pet musica and Telemann usually called serenades. The Telemann Works Catalogue (Telemann Werke Verzeichnis) lists the following cantatas or Pentecost, http://www.musiqueorguequebec.ca/catal/telemann/telgp01e.html#0139. -- William Hoffman

Of the multi-day feasts of Christmas, Easter, and Pentecost, Bach observed the six for Christmas in the 1734-35 Christmas Oratorio, BWV 248.2 (https://www.bach-cantatas.com/Vocal/BWV248-Gen8.htm), which he may have repeated in the 1740s, but only the first day in the Italianate Easter Oratorio, BWV 249.3 (https://www.bach-cantatas.com/Vocal/BWV249-Gen5.htm#google_vignette), and also only the first day in the lost Pentecost Oratorio, BWV deest. An accounting of Bach's compositional efforts for the Pentecost feast (https://en.wikipedia.org/wiki/Church_cantata_(Bach)#Pentecost_Sunday) shows Bach with four cantatas for Pentecost Sunday (BWV 172, 59, 74, 34), three for Pentecost Monday (BWV 68, 173, 174), and two for Pentecost Tuesday (BWV 184, 175). After the Pentecost Festival, Bach did a double bill for the one-day Trinity Sunday festival the next week, Cantatas 194 (a parody) and 165 (Weimar repeat) closing the first cantata cycle. Pentecost 3-Year Lectionary Today's Three-Year Revised Common Lectionary (https://en.wikipedia.org/wiki/Revised_Common_Lectionary) observes only the one-year Vigil of Pentecost and the standard three-year observance of Pentecost Sunday, according to John Setterlund's Bach Through the Year.1 The Vigil of Pentecost uses the gospel of John 7:37-39, Streams of Life-Giving Water (https://www.biblegateway.com/passage/?search=John%207%3A37-39&version=KJV) and Setterlund recommends Pentecost Monday solo Cantata 173.2, "Erh?htes Fleisch und Blut" (Exalted flesh and blood, trans. Z. Philip Ambrose; https://bach-cantatas.com/BWV173-D5.htm, https://www.youtube.com/watch?v=e0m3wNp6CtA), and alternate Trinity 6 alto solo Cantata 170, "Vergnügte Ruh', beliebte Seelenlust" (Contented rest, belove'd inner joy, Ambrose trans.; https://www.bach-cantatas.com/BWV170-D4.htm#google_vignette). Today''s Revised Common Lectionary covers only the (Sunday) Day of Pentecost, writes Setterlund (Ibid.: 65f): Year B, 19 May 2024, Gospel John 15:26-27; 16:4b-15 (Advocate comes, https://lectionary.library.vanderbilt.edu/texts.php?id=94#gospel_reading), preferred Motet BWV 226, “Der Geist hilf unser Schwachheit auf” (The Spirit doth our weakness help, Ambrose trans. Romans 8:26-7; https://www.bach-cantatas.com/VD/BWV226.htm: scroll down to "Discussions in the Week of October 3, 2016 (4th round)"), alternate Pentecost Sunday chorus Cantata 34.2, "O ewiges Feuer, o Ursprung der Liebe" [I] (O fire everlasting, O fountain of loving, Ambrose trans.; https://www.bach-cantatas.com/BWV34-D6.htm), https://www.bach-cantatas.com/Scores/BWV34-Unger.pdf, https://iopn.library.illinois.edu/scalar/bachcantatas/bwv34bca84?path=pentecost-sunday). Year C, 8 June 2025, Gospel John 14:8-17, (25-27), Jesus Way to Father, Promise of Holy Spirit, https://lectionary.library.vanderbilt.edu/texts.php?id=141#gospel_reading, preferred 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.; https://www.bach-cantatas.com/BWV74-D4.htm, https://www.bach-cantatas.com/Scores/BWV74-Unger.pdf, https://iopn.library.illinois.edu/scalar/bachcantatas/bwv74bca83?path=pentecost-sunday); alternate, Pentecost Sunday chorus Cantata 172, "Erschallet, ihr Lieder, erklinget, ihr Saiten" (Resound now, ye lyrics, ring out now, ye lyres!, Ambrose trans.; https://www.bach-cantatas.com/BWV172-D5.htm#google_vignette, https://www.bach-cantatas.com/Scores/BWV172-Unger.pdf, https://iopn.library.illinois.edu/scalar/bachcantatas/bwv172bca81?path=pentecost-sunday). Year A, 24 May 2026, Gospel John 20:19-23 (Jesus Appears to His Disciples) or John 7:37-39 (Streams of Life-Giving Water) (text https://lectionary.library.vanderbilt.edu/texts.php?id=47#gospel_reading), alternate Pentecost Sunday soprano-bass solo Cantata 59, "Wer mich liebet, der wird mein Wort halten" [I] (He who loves me will keep my commandments, Jn. 14:23, Ambrose trans.; https://www.bach-cantatas.com/BWV59-D4.htm, https://www.bach-cantatas.com/Scores/BWV59-Unger.pdf, https://iopn.library.illinois.edu/scalar/bachcantatas/bwv5

New at BachCantataTexts.org: “Komm, du süsse Todesstunde” BWV 161 We are pleased to add a new text and translation: “Komm, du süsse Todesstunde” BWV 161A and “Komm, du süsse Todesstunde” BWV 161B BachCantataTexts.org is a freely available source for new historically-informed English translations of J. S. Bach's vocal works, prepared and annotated by Michael Marissen (Swarthmore College, emeritus) and Daniel R. Melamed (Indiana University, emeritus/Bloomington Bach Cantata Project). Please share this message and the post on our Facebook page with colleagues, friends, and audiences. There is a sign-up page on the site's home for an e-mail announcement list.

CD reviews: G Corrette, Dandrieu: "Messe du 8e ton & Magnificat" David Ponsford, organ - De Fesch: "Concerti Grossi and Violin Concerto" - Hellendaal: Six Grand Concertos Op. 3 - Wassenaer: "VI Concerti Armonici" La Sfera Armoniosa/Mike Fentross "Sacred Treasures of Venice" The London Oratory Schola Cantorum/Charles Cole see: http://www.musica-dei-donum.org --- Johan van Veen e-mail: jvveen@... / jvveen2010@... twitter: musica Dei donum / Johan van Veen bluesky: musica Dei donum / Johan van Veen Facebook: musica Dei donum / Johan van Veen website: musica Dei donum weblogs: The Musical Clock Critica Musica Hortus Musicus

Bach completed his first cantata cycle in the spring of 1724 (https://www.carus-verlag.com/en/bach-leipzig-1723-24/) with the three-day Pentecost feasts and the final Trinity Sunday feast, taking advantage of every compositional opportunity with hallmark works (https://www.bach-cantatas.com/Topics/Broad-Spectrum.htm#google_vignette). As cantor, the annual church cycles involve the following: a heterogeneous first cycle reusing existing works; a unique, homogeneous second cycle of chorale cantatas; and another heterogeneous third cycle of primarily personal solo cantatas and biblical chorus works (https://www.bach-cantatas.com/Topics/Church-Year-Cantatas.htm). There were two other cycles of church pieces: a joy-sorrow cycle of occasional sacred and profane music (https://www.bach-cantatas.com/Topics/Joy-Sorrow-Cycle.htm, primarily wedding Masses and funeral works, and a Christological cycle of major works (mostly oratorios) and Latin Church Music (https://www.bach-cantatas.com/Topics/Christological-Cycle.htm), as well as the annual Good Friday vespers oratorio Passion and the annual cantata installation of the Leipzig Town Council, his employer. As Leipzig director of music, Bach created profane congratulatory cantatas, BWV 201-16, 20 special festival pieces for Leipzig University (https://www-unimusik-uni--leipzig-de.translate.goog/universitaetschor/festmusiken?_x_tr_sl=de&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=sc) and unique, special services (https://www.bach-cantatas.com/Topics/Praise.htm). At the same time, Bach created mini-sacred cycles from special texts (https://www.bach-cantatas.com/Topics/Cantata-Text-Mini-Cycle.htm) while today the Bachfest Leipzig (https://archive.newsletter2go.com/?n2g=d5om1cdz-n3vbm01t-i27) is presenting "Musical Explorations, 'BACH for Future'': New Cantatas, Pasticcios, Adaptations (https://www.bach-cantatas.com/Articles/Musical-Explorations.htm). Johannine Trilogy Planned During the closing 1724 Easter-Pentecost season which completed the school year for St. Thomas, Bach was formulating a work schedule that was both unique and flexible. The Gospel of John inspired various works: a Johannine Trilogy for Passion, Resurrection, Farewell Discourse with the St. John Passion, BWV 245, which was presented in three distinct theological versions; a mini-cycle of nine cantatas of Leipzig poetess Christiane Mariane von Ziegler (https://www.bach-cantatas.com/Lib/Ziegler.htm#google_vignette), from Jubilate (BWV 103) to Trinity Sunday (BWV 176); plans for the second, chorale cantata cycle (https://www.bach-cantatas.com/Topics/Cycle-2.htm#google_vignette: scroll down to "Chorale Cantata Cycle"; https://www.bach-cantatas.com/Topics/Church-Year-Cantatas.htm: scroll down to "CHORLE CANTATA CYCLE") with a librettist for the internal stanza paraphrases (Bach's invention); plans for a second Passion Oratorio according to Matthew (https://www.bach-cantatas.com/Articles/SMP-Biblio-Hoffman.htm), with a poetic libretto by Picander (https://www.bach-cantatas.com/BWVAnh169.htm#google_vignette, https://www.bach-cantatas.com/Performers/Grychtolik-A.htm#C5); and besides Picander as the librettist for the Matthew and Mark Passions, Picander-texted profane celebratory Cantatas BWV 249a, 36, 201, 205-07, 211-213, 216 (https://www.bach-cantatas.com/Lib/Picander.htm). Pentecost Sunday Double Bill The Pentecost Sunday 1724 cantata double bill (BWV 172, 59) was a hallmark event in which Bach sought to establish the importance of Pentecost in the Lutheran tradition. Bach selectively recycled music from previous compositions dating to C?then and Weimar, most notably the revival double-bill for Pentecost Sunday, 28 May 1724: festive chorus Cantata 172, "Erschallet, ihr Lieder, erklinget, ihr Saiten" (Resound now, ye lyrics, ring out now, ye lyres!, Z. Philip Ambrose trans.; https://www.bach-cantatas.com/BWV172-D5.htm#google_vignette, https://melvinunger.com/wp-content/uploads/2021/11/BWV172-Nov-17-2021.pdf), set to a Salomo Franck unpublished text, and Cantata 59, "Wer mich liebet, der wird mein Wort halten" [I] (He who loves me wi

Hi, You may wish to update your biographical information on Dale Higbee who has died. https://www.legacy.com/us/obituaries/legacyremembers/dale-higbee-obituary?id=17500805 Regards, Dr Brian Blood

New at BachCantataTexts.org: JSON We are pleased to announce that all of the material on BachCantataTexts.org is now available in machine-readable form. We have added the text, translation, and notes for each work in JSON format, an encoding scheme that is readable both by people and by computers. It offers a way to incorporate the material into Web pages and other online and electronic resources. These representations can also be the starting point for machine-aided analysis. The JSON version of each text is available at BachCantataTexts.org/BWVxxx.json, for example http://BachCantataTexts.org/BWV4.json . Included are basic information about the work; links to resources on BachCantataTexts.org; and both plain text and html versions of text, translation, and notes. The formal definition of the Cantata object, the basic unit of the data, is available at https://bachcantatatexts.org/.../The%20Cantata%20object.pdf If you are new to JSON you can read about the fundamentals at https://www.digitalocean.com/.../an-introduction-to-json We would be especially interested to hear how people make use of this resource; please let us know about your work with it. BachCantataTexts.org is a freely available source for new historically-informed English translations of J. S. Bach's vocal works, prepared and annotated by Michael Marissen (Swarthmore College, emeritus) and Daniel R. Melamed (Indiana University, emeritus/Bloomington Bach Cantata Project).

I am not sure where to send this, but the website gave this list so: I believe there is an error in translation on the Bach Cantata Website page for the chorale Mein Augen schlie? ich jetzt in Gottes Namen zu To whit: “Meinen Augen schlie? ich jetzt (My eyes I will not close)" Shouldn't that read "I now close my eyes" (or more literally, "My eyes close I now")? .... in Gottes Namen zu "My eyes I will not close in God's Name" does not strike me as something Bach would say.

We are pleased to add a new text and translation: “Sehet, wir gehn hinauf gen Jerusalem” BWV 159 http://BachCantataTexts.org/BWV159 BachCantataTexts.org is a freely available source for new historically-informed English translations of J. S. Bach's vocal works, prepared and annotated by Michael Marissen (Swarthmore College, emeritus) and Daniel R. Melamed (Indiana University, emeritus/Bloomington Bach Cantata Project).