“Bach – Music in the Castle of Heaven” by John Eliot Gardiner

Completed on 28^th of July 2017

Review: 

An illuminating view of Bach’s music by one of its best conductors. The author discusses details of Bach’s 89 cantatas and his other compositions, including both Passions, Magnificat and motets. It combines the details of Bach’s life, especially his environment and contemporary musical landscape. This book is a must for any Bach music lover. It led me to study the further 88 Bach cantatas, not covered in the book, but conducted by the maestro in his Cantata Pilgrimage. This book is a fruit of that monumental endeavour.

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Notes:

The Bachwoche Ansbach (Ansbach Bach Week) is a biennial music festival in Ansbach, Germany, dedicated to the life and works of Johann Sebastian Bach, held since 1947. The next one will be in 2019.

Composers of note to be studied further:

·       Georg Böhm (1661 – 1733) was a German Baroque organist and composer. He is notable for his development of the chorale partita and for his influence on the young J. S. Bach. (in The Oxford History of Western Music).

·       Nicolaus Bruhns (1665 –1697) was a Danish-German organist, violinist, and composer. He was one of the most prominent organists and composers of his generation. (Not in my sources).

·       Johann Philipp Förtsch (14 May 1652 - 14 December 1732) was a German baroque composer, statesman and doctor. (Not in my sources).

·       Christian Geist (1640 – 1711) was a German composer and organist, who lived and worked mainly in Scandinavia. (Not in my sources).

·       Johann Mattheson (1681 – 1764) was a German composer, singer, writer, lexicographer, diplomat and music theorist.

·       Johann Valentin Meder (baptised May 3, 1649 – July 1719) was a German composer, organist, and singer. (Not in my sources).

·       Johann Adam Reincken (1643 – 1722) was a Dutch/German organist and composer. He was one of the most important German composers of the 17th century, a friend of Dieterich Buxtehude and a major influence on Johann Sebastian Bach; however, very few of his works survive to this day.

·       Georg Österreich (1664 – 1735) was a German Baroque composer and collector. (Not in my sources).

·       Heinrich Schutz (1585 – 1672) – Kapellmeister to the Dresden Court. Pupil of Giovanni Gabrieli (in The Oxford History of Western Music).

·       Johann Theile (1646 – 1724) was a German composer of the Baroque era, famous for the opera Adam und Eva, first performed in Hamburg on 2 January 1678. (Not in my sources).

·       Georg Caspar Schürmann (1672 – 1751) was a German Baroque composer. (Not in my sources).

Johann Christoph Bach (1642-1703) – was very skillful in replicating lifelike mood-swings within a single work, rejecting beauty in favour of emotional truth. His music reveals passionate character. He has been considered a master in concerted choral music. Noted his five-voiced motet, Furchte dich nicht. I have listened to his motets. . I have listened to his 3 symphonies: WI20, WI10 and WI6

Bach Cantatas discussed in the book:

1.          Es erhub sich ein Streit (There arose a war), BWV 19. Bach composed it in Leipzig in 1726 for the Feast of Saint Michael and first performed it on 29 September 1726. Here it is the singers who strike out as the main combatants. The immense da capo section is very impressive.

2.         Christ lag in Todes Banden ("Christ lay in death's bonds”) BWV 4, is a cantata for Easter composed by Bach when he was 22 years old. It is a chorale cantata, with text based Martin Luther's hymn. The composition is based on the seven stanzas of the hymn. After an opening sinfonia, the variations are arranged symmetrically: chorus–duet–solo–chorus–solo–duet–chorus, with the focus on the central fourth stanza about the battle between Life and Death. All movements are in E minor, and Bach achieves variety and intensifies the meaning of the text through many musical forms and techniques. Gardiner calls Bach's setting of Luther's hymn "a bold, innovative piece of musical drama", and observes "his total identification with the spirit and letter of Luther's fiery, dramatic hymn".

3.          Aus der Tiefen rufe ich, Herr, zu dir (Out of the depths I call, Lord, to You), BWV 131, was composed in either 1707 or 1708. It was commissioned by the minister of one of the churches in Mühlhausen, the city where Bach worked at the time. The text is based on Luther's German version of Psalm 130. Bach structured the cantata in five movements, three choral movements interspersed by an arioso and an aria. In both solo movements, a chorale stanza sung simultaneously by the soprano intensifies the Psalm text.

4.         Gottes Zeit ist die allerbeste Zeit (God's time is the very best time), BWV 106, also known as Actus tragicus, is an early sacred cantata composed in Mühlhausen, intended for a funeral. Bach scored the work for four vocal parts and a small ensemble of Baroque instruments, two recorders, two violas da gamba and continuo. The work is opened by an instrumental Sonatina, followed by through-composed sections which have been assigned to three movements. The structure is symmetrical around a turning point, when the lower voices, who contemplate the Old Covenant, are overcome by a soprano calling for Jesus. It is one of my favourite cantatas. The cantata ranks among Bach's most important works. The Bach scholar Alfred Dürr called the cantata "a work of genius such as even great masters seldom achieve... The Actus tragicus belongs to the great musical literature of the world".

5.          Christen, ätzet diesen Tag (Christians, engrave this day), BWV 63, is a church cantata composed for the First Day of Christmas, possibly in 1713 for the Liebfrauenkirche in Halle. The cantata in seven movements is festively scored for four vocal soloists, a four-part choir, four trumpets, timpani, three oboes, bassoon, two violins, viola, organ in a later version, and continuo.

6.         Was mir behagt, ist nur die muntre Jagd (The lively hunt is all my heart's desire), BWV 208, also known as the Hunting Cantata, is a secular cantata composed in 1713 for the 31st birthday of Duke Christian of Saxe-Weissenfels. The aria "Schafe können sicher weiden" ("Sheep May Safely Graze"), is the most familiar part of this cantata. The cantata was scored for four vocalist soloists. The work has fifteen movements.

7.          Ich bin vergnügt mit meinem Glücke (I am content in my good fortune), BWV 84, is a solo cantata for soprano in Leipzig in 1727 for the Sunday Septuagesima. This piece is one of the few works which Bach called "Cantata" himself. Bach structured the work in five movements, alternating arias and recitatives, and a closing chorale. The scoring requires only a small ensemble of a soprano soloist, three additional vocal parts for the chorale, and a Baroque instrumental ensemble of oboe, strings and basso continuo. While the first aria is pensive and elegiac, the second aria is of dancing folk-like character.

8.         Wo Gott der Herr nicht bei uns hält (Where God the Lord stands with us not), BWV 178, is a church cantata composed in Leipzig for the eighth Sunday after Trinity and first performed it on 30 July 1724. The cantata in seven movements is scored for three vocal soloists, a four-part choir, horn, two oboes, two oboes d'amore, two violins, viola and basso continuo. According to Gardiner, it expresses Bach operating in a hostile environment and his ongoing conflict with the Leipzig authorities.

9.         Siehe zu, daß deine Gottesfurcht nicht Heuchelei sei (See to it, that your fear of God be not hypocrisy), BWV 179, is a church cantata composed it in Leipzig for the eleventh Sunday after Trinity and first performed it on 8 August 1723. The cantata in six movements is scored for soprano, tenor and bass soloists and a four-part choir, two oboes da caccia, two violins, viola, and basso continuo.

10.    Laß, Fürstin, laß noch einen Strahl (Let, Princess, let still one more glance) (BWV 198) is a secular cantata composed as a funeral ode for Königin Christiane Eberhardine. The cantata is scored for four vocal soloists (soprano, alto, tenor, bass), a four-part choir, two flutes, two oboes d'amore, two violins, viola, two violas da gamba, two lutes and basso continuo. The ten movements are divided into two parts, to be performed before (first 7) and after the funeral oration.

11.     Leichtgesinnte Flattergeister (Light-minded frivolous spirits), BWV 181, is a church cantata composed in Leipzig for Sexagesima and first performed on 13 February 1724. The cantata consists of five movements, twice a sequence of an aria and a recitative, concluded by a choral movement. A characteristic motif with staccato leaps dominates the movement, introduced by the instruments, then picked up by the voice. They compare to the fowl feeding on the seeds in "nervous, jerky movement".

12.    Ich liebe den Höchsten von ganzem Gemüte (I love the Highest with my entire being), BWV 174, is a church cantata composed in Leipzig for the second day of Pentecost and first performed it on 6 June 1729. For the opening Sinfonia, Bach added parts to a movement from his Brandenburg Concerto No. 3. He could employ many players as he had started to direct a Collegium Musicum, who played his church music as well. The cantata in five movements is "lavishly scored" for the feast day, for three soloists, alto, tenor and bass, a four-part choir only in the chorale, two corni da caccia, two oboes, taille (tenor oboe), three solo violins, three solo violas, three solo cellos and basso continuo.

13.     Geschwinde, ihr wirbelnden Winde (Swift, you swirling winds), BWV 201, is a secular cantata as Der Streit zwischen Phoebus und Pan (The Dispute between Phoebus and Pan). The cantata was a commission for a middle-class Collegium Musicum which held its concerts in the Zimmermannsches Kaffeehaus in Leipzig. Bach probably composed it for the opening concert of the Collegium's first season under his direction, which occurred in 1729. The work is scored for Momus (soprano), Mercurius (alto), Tmolus (tenor), Midas (tenor), Phoebus (bass), Pan (bass), a six-part choir of those voices, three trumpets, timpani, two transverse flutes, two oboes d'amore, two violins, viola, and basso continuo.

14.    Wo soll ich fliehen hin (Where shall I flee), BWV 5, is a church chorale cantata composed in Leipzig for the 19th Sunday after Trinity and first performed it on 15 October 1724. The cantata in seven movements is scored for four vocal soloists (soprano, alto, tenor, and bass), a four-part choir, tromba da tirarsi (slide trumpet), two oboes, two violins, viola and basso continuo.

15.     Also hat Gott die Welt geliebt (God so loved the world), BWV 68, is a church cantata for the second day of Pentecost. Bach composed the cantata in Leipzig and first performed it on 21 May 1725. In a unique structure among Bach's church cantatas, it begins with a chorale and ends with a complex choral movement on a quotation from the Gospel of John. The cantata in five movements is scored for two soloists, soprano and bass, a four-part choir, horn, cornett, three trombones, two oboes, taille (tenor oboe), two violins, viola, violoncello piccolo and basso continuo. John Eliot Gardiner describes it as "surely one of Bach's most refreshing and unbuttoned expressions of melodic joy and high spirits".

16.    The Easter Oratorio, BWV 249, is an oratorio composed in Leipzig and first performed it on 1 April 1725. It has no narrator but has four characters assigned to the four voice parts: Simon Peter (tenor) and John the Apostle (bass), appearing in the first duet hurrying to Jesus' grave and finding it empty, meeting there Mary Magdalene (alto) and "the other Mary", Mary Jacobe (soprano). The choir was present only in the final movement. The music is festively scored for three trumpets, timpani, two oboes, oboe d'amore, bassoon, two recorders, transverse flute, two violins, viola and continuo.

17.     Mein Herze schwimmt im Blut ( My heart swims in blood) BWV 199, is a church solo cantata for soprano performed on the eleventh Sunday after Trinity, 12 August 1714. The cantata, structured in eight movements, is scored as chamber music for a solo soprano voice, oboe, violins, viola, and basso continuo. Although limited to one soprano voice, Bach achieves a variety of musical expression in the eight movements. All but one recitative are accompanied by the strings, and only movement 5 is secco, accompanied by the continuo only. The solo voice is treated to dramatic declamation, close to contemporary opera.

18.    Gott ist mein König (God is my King), BWV 71, is a cantata written in Mühlhausen when the composer was 23 years old. Bach structured the cantata in seven movements. He scored the vocal parts for four soloists: soprano, alto, tenor and bass. It was so positively received that it was the first of Bach's works to be printed (paid for by the city council); it is the only cantata to have been printed in his lifetime.

19.    Nun komm, der Heiden Heiland (Now come, Savior of the heathens), BWV 61, is a church cantata composed in Weimar for the first Sunday in Advent, the Sunday which begins the liturgical year, and first performed it on 2 December 1714. Bach structured the cantata in six movements, beginning with chorale fantasia, followed by a series of alternating recitatives and arias and concluded by a chorale. He scored it for three vocal soloists (soprano, tenor and bass), violins, two violas, and basso continuo, including cello and bassoon.

20.   Tritt auf die Glaubensbahn (Step upon the path of faith), BWV 152, is a church cantata composed in Weimar for the Sunday after Christmas and first performed it on 30 December 1714. The cantata in six movements is scored for two soloists—soprano and bass—and four solo instruments: recorder, oboe, viola d'amore, viola da gamba and basso continuo. The cantata is intimate chamber music for only two voices. Christoph Wolff notes the "colourful and delicate effects achievable with these forces". The opening sinfonia in two sections is reminiscent of a French overture. The fugue is one of few instrumental fugues in Bach's cantatas.

21.    Erforsche mich, Gott, und erfahre mein Herz (Examine me, God, and know my heart), BWV 136, is a church cantata composed in Leipzig to be used for the eighth Sunday after Trinity. He led the first performance on 18 July 1723. The cantata in six movements is scored for three vocal soloists (alto, tenor and bass), a four-part choir, horn, two oboes, two violins, viola and basso continuo.

22.   The church cantata Die Elenden sollen essen (The miserable shall eat), BWV 75, was composed in Leipzig for the first Sunday after Trinity and first performed it on 30 May 1723. The complex work in two parts of seven movements each marks the beginning of his first annual cycle of cantatas. The cantata is to be performed before and after the sermon. It is scored for four vocal soloists (soprano, alto, tenor and bass), a four-part choir, trumpet, two oboes, oboe d'amore, two violins, viola, and basso continuo including bassoon.

23.    The church cantata Die Himmel erzählen die Ehre Gottes (The heavens are telling the glory of God), BWV 76, was composed in Leipzig for the second Sunday after Trinity of the liturgical year and first performed it on 6 June 1723. The cantata is structured in two parts of seven movements each, to be performed before and after the sermon. It is scored for four vocal soloists (soprano, alto, tenor and bass), a four-part choir, trumpet, two oboes, oboe d'amore, two violins, viola, viola da gamba and basso continuo. The two parts of seven movements each are composed as the same arrangement of alternating recitatives and arias with a concluding chorale, only Part II is opened by a sinfonia instead of a chorus. This cantata is linked to BWV 75, as an injunction there to give charitably to the hungry is balanced in this cantata by the parable of the great banquet to which all are invited.

24.   Es ist nichts Gesundes an meinem Leibe (There is nothing sound in my body), BWV 25, is a church cantata composed in Leipzig for the 14th Sunday after Trinity and first performed it on 29 August 1723. The cantata in six movements is scored for three vocal soloists (soprano, tenor and bass), a four-part choir, and a colourful orchestra of cornetto, three trombones, three recorders, two oboes, two violins, viola, and basso continuo. John Eliot Gardiner regards the unusual use of the trombones, playing the chorale tune independent of the voices, as an "anticipation of the finale to Beethoven's Fifth Symphony".

25.    Herr, gehe nicht ins Gericht mit deinem Knecht (Lord, do not pass judgment on Your servant), BWV 105, is a church cantata composed in Leipzig for the ninth Sunday after Trinity and first performed it on 25 July 1723. The cantata in six movements is scored for four vocal soloists (soprano, alto, tenor and bass), a four-part choir, corno, two oboes, two violins, viola, and basso continuo.

26.   Schauet doch und sehet, ob irgend ein Schmerz sei (Behold and see, if there be any sorrow), BWV 46 is a church cantata composed it in Leipzig for the tenth Sunday after Trinity and first performed it on 1 August 1723. The cantata is scored for three vocal soloists (alto, tenor and bass), a four-part choir, a slide trumpet, two recorders, two oboes da caccia, strings and basso continuo. The cantata is structured in six movements.

27.    Wer nur den lieben Gott läßt walten (Who only lets dear God rule), BWV 93 is a cantata composed in Leipzig for the fifth Sunday after Trinity and first performed it on 9 July 1724. The cantata in seven movements is scored for four soloists—soprano, alto, tenor and bass—a four-part choir, two oboes, two violins, viola, viola da gamba and basso continuo.

28.   Ich glaube, lieber Herr, hilf meinem Unglauben (I believe, dear Lord, help my unbelief), BWV 109, is a church cantata composed in Leipzig for the 21st Sunday after Trinity and first performed it on 17 October 1723. The cantata in six movements is scored for alto and tenor soloists, a four-part choir, cor du chasse, two oboes, two violins, viola, and basso continuo. It conveys the inner conflict between belief and doubt. The inner dialogue in movement 2 is marked forte and piano, rather than giving the words to two different singers, as John Eliot Gardiner points out: "Bach reinforces the dichotomy between faith and doubt by assigning two opposing voices sung by the same singer, one marked forte, the other piano, alternating phrase by phrase and surely unique in Bach's recitatives".

29.   Es reißet euch ein schrecklich Ende (A horrible end will carry you off), BWV 90, is a church cantata by composed in Leipzig for the 25th Sunday after Trinity and first performed it on 14 November 1723. The cantata in five movements is scored for three vocal soloists—alto, tenor and bass—a four-part choir only in the closing chorale, trumpet, two violins, viola, and basso continuo. John Eliot Gardiner, who calls the cantata "magnificently theatrical and terse", notes: "Bach seems, in fact, to be taking on his entire generation of Italian opera composers and beating them at their own game. The unflagging energy of his melodic invention and rhythmic propulsion is always directed towards giving truthful expression to the text, and here it is as matchless as it is exciting".

30.    Wachet! betet! betet! wachet! (Watch! Pray! Pray! Watch!) is the title of two church cantatas by Johann Sebastian Bach. He composed a first version, BWV 70a, in Weimar for the second Sunday in Advent of 1716 and expanded it in 1723 in Leipzig to BWV 70, a cantata in two parts for the 26th Sunday after Trinity. The cantata in two parts of 7 and 4 movements was scored in Leipzig for soprano, alto, tenor, and bass soloists, a four-part choir, trumpet, oboe, bassoon, two violins, viola, and basso continuo.

31.     Darzu ist erschienen der Sohn Gottes (For this the Son of God appeared), BWV 40, is a church cantata composed it in 1723, for the Second Day of Christmas, and first performed it on 26 December that. The theme of the work is Jesus as the conqueror of the works of the devil, who is frequently mentioned as the serpent. The text by an unknown poet is organised in eight movements, beginning with a choral movement on the biblical text, followed by a sequence of recitatives and arias which is structured as three stanzas from three different hymns. Only two of these hymns are Christmas carols.

32.    Sehet, welch eine Liebe hat uns der Vater erzeiget (Behold, what a love has the Father shown to us), BWV 64, is a cantata composed in Leipzig in 1723 for the third day of Christmas, which is also the Feast of John the Evangelist, and first performed it on 27 December 1723. The cantata is in eight parts and scored for soprano, alto and bass soloists, a four-part choir, zink and three trombones, oboe d'amore, two violins, viola, and basso continuo.

33.     Singet dem Herrn ein neues Lied (Sing a new song to the Lord), BWV 190, is a church cantata composed in Leipzig for the New Year's Day and first performed it on 1 January 1724 as part of his first cantata cycle. The cantata in seven movements is festively scored for alto, tenor and bass soloists, a four-part choir, three trumpets, timpani, three oboes, oboe d'amore, two violins, viola, and basso continuo including bassoon.

34.    Schau, lieber Gott, wie meine Feind (See, dear God, how my enemies), BWV 153, is a church cantata composed in Leipzig for the Sunday after New Year's Day and first performed on 2 January 1724. The cantata in nine movements is scored for a chamber ensemble of alto, tenor and bass soloists, a four-part choir, two violins, viola, and basso continuo.

35.     Sie werden aus Saba alle kommen (They will all come forth out of Sheba), BWV 65, is a church cantata composed in 1724 in Leipzig for Epiphany and first performed it on 6 January. Bach scored the cantata in seven movements festively, for two vocal soloists (tenor and bass), a four-part choir and a Baroque instrumental ensemble of two horns, two recorders, two oboes da caccia, strings and basso continuo.

36.    Mein liebster Jesus ist verloren (My dearest Jesus is lost), BWV 154, is a church cantata composed for the first Sunday after Epiphany and first performed it in Leipzig on 9 January 1724. Similar to the Weimar cantatas, the work is scored for alto, tenor and bass soloists, a four-part choir for the chorales only, two oboes d'amore, two violins, viola, and basso continuo. The cantata is structured in eighth movements.

37.     Jesus schläft, was soll ich hoffen? (Jesus sleeps, what shall I hope for?), BWV 81, is a church cantata composed in 1724 in Leipzig for the fourth Sunday after Epiphany and first performed it on 30 January 1724. The cantata in seven movements is scored for alto, tenor and bass soloists, a four-part choir in the chorale, two oboes d'amore, two recorders, two violins, viola, and basso continuo. The movement 3 almost visualizes the storm and the movement of the waves, similar to scenes in contemporary operas. In the first movement the singer has to hold a low B for ten slow beats. This is a very moving cantata about Jesus’ calming a violent storm on the sea of Galilee.

38.    Halt im Gedächtnis Jesum Christ (Keep Jesus Christ in mind), BWV 67, is a church cantata composed in Leipzig for the first Sunday after Easter, and first performed it on 16 April 1724. It is based on the prescribed gospel of the appearance of Jesus to the Disciples, first without then with Thomas. Bach structured the work in seven movements, arranged in symmetry around the central chorale, and scored it for three solo voices, a four-part choir and a Baroque instrumental ensemble of a slide horn for hymn tunes, flauto traverso, two oboes d'amore, strings and basso continuo. The cantata contains a dramatic scene with Jesus repeating "Peace be with you" against the enemies.

39.    O Ewigkeit, du Donnerwort (O eternity, you word of thunder), BWV 20 , was composed in Leipzig for the first Sunday after Trinity and first performed it on 11 June 1724. It is the first cantata for the second annual cycle. Bach structured the cantata in two parts, to be performed before and after the sermon. Part I contains seven movements, Part II four movements. Part I begins with a chorale fantasia, both parts are concluded by the same four-part setting of two other stanzas of the chorale. Bach scored the work festively for three vocal soloists (alto, tenor and bass), a four-part choir, and a Baroque instrumental ensemble: tromba da tirarsi, three oboes, two violins, viola, and basso continuo.

40.   Nimm von uns, Herr, du treuer Gott (Take away from us, Lord, faithful God), BWV 101, is a church cantata composed in Leipzig for the tenth Sunday after Trinity and first performed it on 13 August 1724. The cantata in seven movements is richly scored for four vocal soloists (soprano, alto, tenor, and bass), a four-part choir, cornett, three trombones, two oboes, taille (tenor oboe), flauto traverso (or violin), two violins, viola and basso continuo.

41.    Aus tiefer Not schrei ich zu dir (Out of deep anguish I call to You), BWV 38, is a church cantata composed in Leipzig in 1724 for the 21st Sunday after Trinity and first performed it on 29 October 1724. The cantata is part of Bach's second annual cycle, which focused on Lutheran hymns. It is based on Martin Luther's penitential hymn "Aus tiefer Not schrei ich zu dir". Bach scored the cantata for four vocal soloists, a four-part choir, and a Baroque instrumental ensemble of four trombones, two oboes, strings and continuo. The cantata is unusual in its use of the chorale tune not only in the outer movements, but as material for motifs in recitative and aria, once even taking the chorale melody as a continuo line.

42.   Ach wie flüchtig, ach wie nichtig (Ah, how fleeting, ah how insignificant), BWV 26, is a church cantata composed in Leipzig for the 24th Sunday after Trinity and first performed it on 19 November 1724. Its theme, the transience of human life, is the only connection to the prescribed gospel reading. Bach scored the cantata for four vocal soloists, a four-part choir, and a Baroque instrumental ensemble of horn, flute, three oboes, strings and continuo.

43.    Gelobet seist du, Jesu Christ (Praise be to You, Jesus Christ), BWV 91, is the Christmas cantata written in Leipzig for Christmas Day and first performed it on 25 December 1724. The cantata in six movements is festively scored for soprano, alto, tenor, and bass, a four-part choir, two horns, timpani, three oboes, two violins, viola and basso continuo.

44.   Christum wir sollen loben schon (We should praise Christ highly[a]), BWV 121, is Christmas cantata composed in Leipzig in for the second day of Christmas and first performed it on 26 December 1724. The piece is scored for alto, tenor and bass vocal soloists with four-part choir. The instrumental parts are cornett, three trombones, oboe d'amore, two violins, viola, and basso continuo. The cantata has six movements.

45.    Liebster Immanuel, Herzog der Frommen (Dearest Emmanuel, duke of the pious), BWV 123, is a church cantata composed in Leipzig for Epiphany and first performed it on 6 January 1725. The cantata in six movements is scored for three vocal soloists (alto, tenor, and bass), a four-part choir, two flauto traverso, two oboes d'amore, two violins, viola, and basso continuo.

46.   Herr Jesu Christ, wahr' Mensch und Gott (Lord Jesus Christ, true Man and God), BWV 127, is a cantata composed in 1725 in Leipzig for the Sunday Estomihi, the Sunday before Lent. The cantata in five movements is richly scored for three vocal soloists (soprano, tenor and bass), a four-part choir, trumpet, two recorders, two oboes, two violins, viola and basso continuo. The soprano aria is very moving.

47.    Bleib bei uns, denn es will Abend werden (Stay with us, for evening falls), BWV 6, is a cantata composed in Leipzig for Easter Monday and first performed it on 2 April 1725. Bach structured the cantata in six movements and scored it for four vocal soloists, a four-part choir and a Baroque instrumental ensemble of oboes, strings and continuo.

48.   Sie werden euch in den Bann tun (They will put you under banishment), BWV 183, is a church cantata composed in Leipzig for Exaudi, the Sunday after Ascension, and first performed it on 13 May 1725. Bach structured the cantata in five movements, beginning with what John Eliot Gardiner describes as a "curtain raiser", a line from the gospel set as a recitative. This is followed by a sequence aria–recitative–aria, and the cantata is concluded by a four-part chorale. Bach scored the work for four vocal soloists (soprano, alto, tenor and bass), a four-part choir only in the closing chorale, and a Baroque instrumental ensemble in an unusual combination of instruments, two oboes d'amore, two oboes da caccia, two violins, viola, a violoncello piccolo and basso continuo.

49.   Wer mich liebet, der wird mein Wort halten ("If a man love me, he will keep my words", more literally: "He who loves me will obey my commands"), BWV 74, is a church cantata composed in Leipzig for Pentecost and first performed it on 20 May 1725. This piece is scored for four solo voices (soprano, alto, tenor, and bass), a four-part choir, three trumpets, timpani, two oboes, an oboe da caccia, two violins, viola, and basso continuo. The cantata has eight movements.

50.    Es ist ein trotzig und verzagt Ding (There is something defiant and fainthearted), BWV 176, is a church cantata composed it in Leipzig for Trinity and first performed it on 27 May 1725, concluding his second year of cantata compositions in Leipzig. The cantata is scored for three vocal soloists (soprano, alto, and bass), a four-part choir, two oboes, oboe da caccia, two violins, viola, and basso continuo. The work has six movements.

51.     Gott soll allein mein Herze haben (God alone shall have my heart), BWV 169, was composed for an alto soloist in Leipzig for the 18th Sunday after Trinity and first performed it on 20 October 1726. The cantata in seven movements is scored for alto, a four-part choir only for the closing chorale, two oboes, taille (tenor oboe), two violins, viola, organ obbligato and basso continuo. After the love of God has been expanded in great detail in five movements, the commandment to also love one's neighbour is expressed in a short recitative, leading to the chorale, which asks the Holy Spirit to assist in doing so, "so that we might love each other from our hearts and remain of one mind in peace".

52.    Du sollt Gott, deinen Herren, lieben (You shall love God, your Lord), BWV 77 was composed in Leipzig for the thirteenth Sunday after Trinity and first performed it on 22 August 1723. The cantata text is focused on the parable of the Good Samaritan containing the Great Commandment, which is used as the text of the first movement. A pair of recitative and aria deals with the love of God, while a symmetrical pair deals with the love of the neighbour. Bach scored the cantata for four vocal soloists, mixed choir, tromba da tirarsi, two oboes, strings and continuo. In the first movement Bach uses an instrumental quotation of Luther's hymn on the ten commandments, "Dies sind die heilgen zehn Gebot" (These are the holy ten commandments), played by the trumpet in canon with the continuo.

53.     Unser Mund sei voll Lachens (May our mouth be full of laughter), BWV 110, was composed in Leipzig for Christmas Day and first performed it on 25 December 1725. Bach scored the work festively for four vocal soloists, a four-part choir and a Baroque instrumental ensemble of trumpets and timpani, transverse flutes, different kinds of oboe, strings and basso continuo including bassoon.

54.    Ihr werdet weinen und heulen (You shall weep and wail), BWV 103, is a cantata for the third Sunday after Easter, called Jubilate (Jubilate Sunday). Bach composed the cantata in his second year as Thomaskantor in Leipzig and first performed it on 22 April 1725. Based on the Gospel reading from the Farewell Discourse, where Jesus, announcing that he will leave, says "your sorrow shall be turned into joy", Bach contrasts music of sorrow and joy, notably in the unusual first movement, where he inserts an almost operatic recitative of Jesus in the fugal choral setting. The architecture of the movement combines elements of the usual concerto form with the more text-related older form of a motet. Bach scores an unusual flauto piccolo (descant recorder in D) as an obbligato instrument in an aria contemplating the sorrow of missing Jesus, who is addressed as a doctor who shall heal the wounds of sins. Bach scores a trumpet in only one movement, an aria expressing the joy about the predicted return of Jesus. The cantata in six movements closes with a chorale, the ninth stanza of Paul Gerhardt's hymn "Barmherzger Vater, höchster Gott".

55.     Brich dem Hungrigen dein Brot ("Break with hungry men thy bread" or "Give the hungry ones thy bread", BWV 39, was composed in Leipzig and first performed on 23 June 1726, the first Sunday after Trinity that year. The cantata is regarded as part of Bach's third cantata cycle which was written sporadically between 1725 and 1727. The cantata is scored for three groups of instruments—alto recorders, oboes and strings—from which the four obbligato soloists are drawn that accompany the two arias, for alto and soprano. In the libretto of BWV 39, the Old Testament passage is taken from the Book of Isaiah (Isaiah 58:7–8) and the New Testament passage from the Epistle to the Hebrews (Hebrews 13:16). Both passages have as common themes the invocations to love thy neighbour and to share God's gifts.

56.    Jesu, der du meine Seele (Jesus, You, who my soul), BWV 78, was composed in Leipzig for the 14th Sunday after Trinity and first performed it on 10 September 1724. The cantata in seven movements is scored for soprano, alto, tenor and bass soloists, a four-part choir, flauto traverso, two oboes, two violins, viola, violone and basso continuo including organ and horn in the opening chorus.

57.     Schmücke dich, o liebe Seele (Adorn yourself, O dear soul), BWV 180, was composed in Leipzig for the 20th Sunday after Trinity and first performed it on 22 October 1724. Bach structured the cantata in seven movements for four vocal soloists (soprano, alto, tenor, bass), a four-part choir and a Baroque instrumental ensemble of two recorders, flauto traverso, two oboes, two violins, viola, violoncello piccolo and basso continuo.

58.    Ich geh und suche mit Verlangen (I go forth and seek with longing), BWV 49, was composed in Leipzig for the twentieth Sunday after Trinity Sunday and first performed it on 3 November 1726. Bach composed the cantata in his fourth year in Leipzig for the twentieth Sunday after Trinity. It is counted as part of his third annual cycle of cantatas. The cantata is termed a Dialogus, being a dialogue between the Soul and Jesus, her bridegroom. Bach structured the cantata six movements and scored it for soprano and bass soloists, oboe d'amore, two violins, viola, violoncello piccolo, organ and basso continuo. Klaus Hofmann summarizes: "Bach has clothed his music in the 'wedding garments' of exquisite scoring".

59.    Ein Herz, das seinen Jesum lebend weiß (A heart that knows its Jesus is living), BWV 134, was composed for the third day of Easter in Leipzig and first performed it on 11 April 1724. The cantata in six movements is scored for alto and tenor soloists, a four-part choir, two oboes, two violins, viola, and basso continuo.

60.   Herr Gott, dich loben alle wir (Lord God, we all praise you), BWV 130, was composed in Leipzig in 1724 for Michaelis, the feast of Michael, the archangel, on 29 September 1724. The cantata in six movements is festively scored for four vocal soloists (soprano, alto, tenor and bass), a four-part choir, three trumpets, timpani, flauto traverso, three oboes, two violins, viola, and basso continuo.

61.    Komm, du süße Todesstunde (Come, you sweet hour of death), BWV 161, was composed in Weimar for the 16th Sunday after Trinity, probably first performed on 27 September 1716. It is based on the prescribed gospel reading about the young man from Nain. His text reflects on longing for death, seen as a transition to a life united with Jesus. Bach scored the work for two vocal parts (alto and tenor), a four-part choir, and a Baroque chamber ensemble of recorders, strings and continuo.

62.   Wer weiß, wie nahe mir mein Ende? (Who knows how near to me my end?), BWV 27, was composed in Leipzig for the 16th Sunday after Trinity and first performed it on 6 October 1726. The cantata is scored for four soloists—soprano, alto, tenor and bass—a four- or five-part choir, horn, three oboes, oboe da caccia, organ, two violins, viola, and basso continuo.

63.    Liebster Gott, wenn werd ich sterben? (Dearest God, when will I die?), BWV 8, was composed in Leipzig for the 16th Sunday after Trinity and first performed it on 24 September 1724. The piece is scored for horn, flauto traverso, two oboes d'amore, strings (violins, violas and basso continuo), vocal soloists and choir. It is in six movements. The opening chorus is a gapped chorale setting of the tune. The alto, tenor, and bass voices sing free counterpoint, while the sopranos sing the chorale unadorned in long notes. Philipp Spitta described the sound of this movement as a "church-yard full of flowers in the springtime". The tenor aria is characterized by continued bell tones and string pizzicato in the accompaniment, and a duet with oboe for the vocal line. A "marching" chorale setting ends the cantata.

64.   Christus, der ist mein Leben (Christ, he is my life), BWV 95, was composed in Leipzig for the 16th Sunday after Trinity and first performed it on 12 September 1723. The cantata in seven movements is scored for three vocal soloists (soprano, tenor and bass), a four-part choir, horn, two oboe d'amore, two violins, viola, violoncello piccolo and basso continuo.

65.    Der Himmel lacht! Die Erde jubilieret (Heaven laughs! Earth exults), BWV 31, is a cantata for the first day of Easter. Bach composed the cantata in Weimar and first performed it on 21 April 1715. The cantata in nine movements is festively scored for three vocal soloists (soprano, tenor and bass), a five-part choir, three trumpets, timpani, three oboes, taille (tenor oboe), bassoon, two violins, two violas, two cellos and basso continuo. The scoring for five parts in the choir, five parts in the woodwinds and six parts in the strings is unusual. The festive character of the work is demonstrated by a sonata with a fanfare-like introduction, a concerto of the three groups brass, reeds and strings, all divided in many parts.

66.   Ich habe genug (original: Ich habe genung, ("I have enough" or "I am content"), BWV 82, the solo cantata for bass was composed in Leipzig in 1727 for the Feast Mariae Reinigung (Purification of Mary) and first performed it on 2 February 1727. The cantata in five movements is scored for bass, oboe, two violins, viola, and basso continuo.

67.    Mit Fried und Freud ich fahr dahin (With peace and joy I depart), BWV 125, was composed in Leipzig in 1725 for the feast for the Purification of Mary which is celebrated on 2 February and is also known as Candlemas. The cantata is based on Martin Luther's 1524 hymn "Mit Fried und Freud ich fahr dahin. Bach structured the cantata in six movements, framing four movements for soloists by a chorale fantasia and a closing chorale. He scored the work for three vocal soloists, a four-part choir, and a Baroque ensemble consisting of horn, flauto traverso, oboe, oboe d'amore, strings and basso continuo.

68.   Ich will den Kreuzstab gerne tragen ("I will the cross-staff gladly carry" or "I will gladly carry the Cross"), BWV 56, is a solo cantata for bass, composed in Leipzig for the 19th Sunday after Trinity Sunday and first performed it on 27 October 1726. The cantata is regarded as part of Bach's third annual cycle of cantatas for all occasions of the liturgical year, and one of few works for which Bach himself used the term cantata. Bach structured the cantata in five movements, alternating arias and recitatives and a four-part chorale. He scored it for a bass soloist, a four-part choir only in the closing chorale, two oboes, taille, two violins, viola, cello, and basso continuo.

69.   Freue dich, erlöste Schar (Rejoice, redeemed flock), BWV 30, was composed in Leipzig for the Feast of St. John the Baptist and first performed it on 24 June 1738 or later. The piece is scored for four vocal soloists (soprano, alto, tenor, bass), a four-part choir, three trumpets, timpani, two oboes, two flauti traversi, oboe d'amore, two violins, viola, and basso continuo. The cantata is in twelve movements, divided in two parts, to be performed before and after the sermon.

70.    Wir danken dir, Gott, wir danken dir (We thank you, God, we thank you), BWV 29, was composed in Leipzig in 1731 for Ratswechsel, the annual inauguration of a new town council, and first performed it on 27 August of that year. Bach scored the work in eight movements for four vocal parts and a festive Baroque orchestra of three trumpets, timpani, two oboes, strings, an obbligato organ and basso continuo. The organ dominates the first movement Sinfonia which Bach derived from a Partita for violin. The full orchestra accompanies the first choral movement and plays with the voices in the closing chorale, while a sequence of three arias alternating with two recitatives is scored intimately.

71.     Gleichwie der Regen und Schnee vom Himmel fällt (Just as the rain and snow fall from heaven), BWV 18, is Bach’s an early church cantata composed in Weimar for the Sunday Sexagesimae, the second Sunday before Lent, likely by 1713.

72.    Ach wie flüchtig, ach wie nichtig (Ah, how fleeting, ah how insignificant), BWV 26, is a church cantata composed in Leipzig for the 24th Sunday after Trinity and first performed it on 19 November 1724. Bach scored the cantata for four vocal soloists, a four-part choir, and a Baroque instrumental ensemble of horn, flute, three oboes, strings and continuo.

73.     The church cantata Ich hatte viel Bekümmernis (I had much grief), BWV 21, was composed in Weimar, possibly in 1713. Bach used it in 1714 and later for the third Sunday after Trinity of the liturgical year. The work marks a transition between motet style on biblical and hymn text to operatic recitatives and arias on contemporary poetry. I found it very beautiful.

74.    The church cantata Ach Herr, mich armen Sünder (Ah Lord, poor sinner that I am), BWV 135, was composed in Leipzig for the third Sunday after Trinity and first performed it on 25 June 1724. Bach structured the cantata in six movements, setting the chorale tune in a chorale fantasia in the opening movement, and in a four-part setting in the closing movement.

75.     The church cantata Ein ungefärbt Gemüte (An open mind), BWV 24, was composed in Leipzig for the fourth Sunday after Trinity and first performed it on 20 June 1723. The cantata in six movements is scored for three vocal soloists (alto, tenor and bass), a four-part choir, clarino, two oboes, two oboes d'amore, two violins, viola and basso continuo.

76.    The church cantata Barmherziges Herze der ewigen Liebe (Merciful heart of eternal love), BWV 185, in Weimar for the fourth Sunday after Trinity and first performed it on 14 July 1715. The cantata is structured in six movements begins with a duet, followed by a sequence of alternating arias and recitatives and closed by a four-part chorale. It is scored for a small ensemble of four vocal parts, oboe, strings and continuo.

77.     Süßer Trost, mein Jesus kömmt (Sweet comfort, my Jesus comes), BWV 151, is a church cantata composed in Leipzig for the third day of Christmas and first performed on 27 December 1725. The work is scored for four vocal soloists (soprano, alto, tenor, and bass), a four-part choir, flute, oboe d'amore, two violins, viola, and basso continuo. Because of its intimate scoring and lack of large-scale opening chorus, the work is a "treasureable miniature" and "the most personal of Bach's Christmas cantatas".

78.    Ich freue mich in dir (I rejoice in You), BWV 133, is a Christmas cantata composed in Leipzig in 1724 for the Third Day of Christmas and first performed on 27 December 1724. The cantata in six movements is scored for four vocal soloists (soprano, alto, tenor, and bass), a four-part choir, cornett to double the chorale melody, two oboes d'amore, two violins, viola, and basso continuo.

79.    Jesu, nun sei gepreiset (Jesus, now be praised), BWV 41, is a chorale cantata composed in Leipzig for New Year's Day and first performed it on 1 January 1725 as part of his second cantata cycle. The cantata in six movements is scored for four soloists (soprano, alto, tenor and bass), a four-part choir, three trumpets, timpani, three oboes, two violins, viola, violoncello piccolo da spalla and basso continuo.

80.   Gloria in excelsis Deo (Glory to God in the Highest), BWV 191, is the only one of his church cantatas set to a Latin text. He composed the Christmas cantata in Leipzig probably in 1745 to celebrate the end of the Second Silesian War on Christmas Day.

81.    Meine Seufzer, meine Tränen (My sighs, my tears), BWV 13, is a church cantata composed in Leipzig for the second Sunday after Epiphany and first performed on 20 January 1726. The cantata in six movements is intimately scored for four soloists, soprano, alto, tenor, and bass, a four-part choir in the closing chorale, two recorders, oboe da caccia, two violins, viola, and basso continuo.

82.   Ich hab in Gottes Herz und Sinn (I have given over to God's heart and mind), BWV 92, is a chorale cantata composed in Leipzig for Septuagesimae and first performed it on 28 January 1725. The cantata is scored for four vocal soloists—soprano, alto, tenor and bass—a four-part choir, two oboes d'amore, two violins, viola, and basso continuo. The cantata is in nine movements and is one of Bach's longer cantatas both in terms of form and amount of text and music, lasting around thirty minutes.

83.    Sehet, wir gehn hinauf gen Jerusalem (Behold, let us go up to Jerusalem), BWV 159, is a church cantata composed in Leipzig for the Sunday Estomihi, the last Sunday before Lent, and probably first performed it on 27 February 1729. The cantata in five movements is scored for alto, tenor, and bass soloists, a four-part choir only for the chorale, oboe, two violins, viola and basso continuo including bassoon. The chorale in movement 2 can be sung by a soprano soloist or the choir soprano.

84.   Wie schön leuchtet der Morgenstern (How beautifully the morning star shines), BWV 1 is a church cantata composed in 1725 in Leipzig for the feast of the Annunciation and led the first performance on 25 March 1725, which that year fell on Palm Sunday. Bach structured the cantata in six movements. The text and tune of the hymn are kept in the outer choral movements, a chorale fantasia and a four-part closing chorale, which frame a sequence of alternating recitatives and arias. Bach scored the work for three vocal soloists (soprano, tenor and bass), a four-part choir, and a Baroque instrumental ensemble of two horns, two oboes da caccia, two violins, two obbligato violins, viola and basso continuo. A festive scoring like this, including brass, was usually performed on holidays.

85.    Nach dir, Herr, verlanget mich (For Thee, O Lord, I long), BWV 150, is unique among Bach's cantatas in its sparse orchestration and in the independence and prominence of the chorus, which is featured in four out of seven movements. The text alternates verses from Psalm 25 and poetry by an unknown librettist. Bach scored the work for four vocal parts and a small Baroque instrumental ensemble of two violins, bassoon and basso continuo. Many scholars think that it may be the earliest extant cantata by Bach, possibly composed in Arnstadt in 1707.

86.   Weinen, Klagen, Sorgen, Zagen (Weeping, lamenting, worrying, fearing), BWV 12, is a church cantata composed in Weimar for Jubilate, the third Sunday after Easter, and had its first performance on 22 April 1714 in the Schlosskirche, the court chapel of the Schloss in Weimar. The cantata in seven movements is scored for three vocal soloists (alto, tenor and bass), a four-part choir, trumpet, oboe, bassoon, two violins, two violas and basso continuo.

87.    Wir müssen durch viel Trübsal (We must [pass] through great sadness), BWV 146, is a cantata a for the third Sunday after Easter. Bach composed it in Leipzig in 1726 or 1728. The cantata in eight movements is scored for soprano, alto, tenor and bass soloists, a four-part choir, flauto traverso, two oboes d'amore, taille (tenor oboe), organ, two violins, viola and basso continuo.

88.   Sie werden euch in den Bann tun (They will put you under banishment), BWV 44, is a church cantata composed in Leipzig for Exaudi, the Sunday after Ascension, and first performed it on 21 May 1724. The cantata in seven movements is scored for four vocal soloists (soprano, alto, tenor and bass), a four-part choir, two oboes, two violins, viola and basso continuo.

89.   Wer mich liebet, der wird mein Wort halten (Whoever loves me will keep my word), BWV 59, is a church cantata composed for Pentecost and probably first performed it in Leipzig on 28 May 1724, but an earlier performance on 16 May 1723 at the Paulinerkirche, the University Church of Leipzig, is possible. The cantata in four movements is scored for two soloists, soprano and bass, a four-part choir only in the chorale, two trumpets, timpani, two violins, viola and basso continuo.

The other sacred compositions discussed include:

1.          Magnificat is a musical setting of the biblical canticle Magnificat. It is scored for five vocal parts (two sopranos, alto, tenor and bass), and a Baroque orchestra including trumpets and timpani. It is the first major liturgical composition on a Latin text by Bach. For the feast of Visitation of 1733, Bach produced a new version of his Latin Magnificat, without the Christmas hymns: instrumentation of some movements was altered or expanded, and the key changed from E-flat major to D major, for performance reasons of the trumpet parts. This version of Bach's Magnificat is known as BWV 243. After publication of both versions in the 19th century, the second became the standard for performance. It is one of Bach's most popular vocal works.

2.         St John Passion (German: Johannes-Passion), BWV 245, is a Passion or oratorio written during Bach's first year as director of church music in Leipzig and was first performed on April 7, 1724, at Good Friday Vespers at the St. Nicholas Church. The structure of the work falls in two halves, intended to flank a sermon. Compared with the St Matthew Passion, the St John Passion has been described as more extravagant, with an expressive immediacy, at times more unbridled and less "finished". The St John Passion is written for an intimate ensemble of soloists, four-part choir, strings and basso continuo and pairs of flauti traversi and oboes, the latter both doubling on oboe da caccia.

3.          The St Matthew Passion (German: Matthäus-Passion), BWV 244, is a Passion, a sacred oratorio written in 1727 for solo voices, double choir and double orchestra. It is widely regarded as one of the masterpieces of classical sacred music. An alto aria “Erbarme dich” (Have Mercy) in the second part of the passion, is deeply moving.

4.         Fürchte dich nicht (Do not fear), BWV 228, is a motet for a funeral, set for double chorus. As the original score has not survived, the work cannot be dated with certainty.

5.          Komm, Jesu, komm (Come, Jesus, come), BWV 229 is a motet composed in Leipzig, possibly between 1723 and 1734.

6.         Singet dem Herrn ein neues Lied (Sing unto the Lord a new song), BWV 225 is a motet first performed in Leipzig around (probably) 1727. The motet is described as being for double-choir (in other words eight voices divided into two four-part choirs). This is the motet Mozart heard when he visited the Thomaskirche in 1789. He said: “What is this? Now there is something one can learn from!” This is truly amazing piece of music.

7.          Der Geist hilft unser Schwachheit auf (The Spirit gives aid to our weakness), BWV 226, is a motet by Johann Sebastian Bach, composed in Leipzig in 1729 for the funeral of Johann Heinrich Ernesti.

The other compositions discussed in the book:

1.          The sonatas and partitas for solo violin (BWV 1001, BWV 1002, BWV 1003, BWV 1004, BWV 1005 and BWV 1006) were completed by 1720, but only published in. Today, Bach's Sonatas and Partitas are an essential part of the violin repertoire, and they are frequently performed and recorded.
The Chaconne, the last and most famous movement of the suite Partita No. 2 in D minor, BWV 1004, was regarded as "the greatest structure for solo violin that exists" by Yehudi Menuhin.
in Sonata No. 3 in C major, BWV 1005, the opening movement introduced a peaceful, slow stacking up of notes, a technique once thought to be impossible on bowed instruments. The fugue is the most complex and extensive of the three sonatas.

2.         The Musical Offering, BWV 1079, is a collection of keyboard canons and fugues and other pieces of music, all based on a single musical theme given to him by Frederick the Great (Frederick II of Prussia), to whom they are dedicated. The Ricercar a 6, a six-voice fugue which is the highpoint of the entire work, was put forward by the musicologist Charles Rosen as the most significant piano composition in history. This ricercar is also occasionally called the Prussian Fugue, a name used by Bach himself.

There are some cantatas that are missing from the Gardiner’s book. I have extracted them from the full set of Gardiner’s conducted cantatas:

1.          The church cantata Ihr Menschen, rühmet Gottes Liebe (You people, glorify God's love), BWV 167, was composed in Leipzig for the Feast of St. John the Baptist and first performed it on 24 June 1723. It is part of his first cantata cycle in Leipzig. The cantata in five movements is scored like chamber music for four vocal soloists (soprano, alto, tenor and bass), a four-part choir only in the closing chorale, clarino, oboe da caccia, oboe, two violins, viola, and basso continuo. The clarino only doubles the melody of the chorale.

2.         The church cantata Christ unser Herr zum Jordan kam (Christ our Lord came to the Jordan), BWV 7, was composed in Leipzig for the Feast of St. John the Baptist and led its first performance on 24 June 1724. The cantata is scored for three vocal soloists (alto, tenor and bass), a four-part choir, two oboes d'amore, two solo violins, strings and continuo.

3.          The church cantata Ach Gott, vom Himmel sieh darein (Oh God, look down from heaven), BWV 2, was composed in Leipzig for the second Sunday after Trinity and first performed on 18 June 1724. It is the second cantata of his second annual chorale cantata cycle, and is based on Martin Luther's hymn "Ach Gott, vom Himmel sieh darein", published in 1524 in the first Lutheran hymnal. Bach structured the cantata in six movements, setting the chorale tune in a chorale fantasia in the opening movement, and in a four-part setting in the closing movement. The two choral movements frame alternating recitatives and arias of three vocal soloists. Bach also used a four-part choir, and a Baroque instrumental ensemble of a choir of trombones, two oboes, strings and continuo. He set the first movement in "archaic" motet style, but the arias in "modern" concertante style, only occasionally reminiscent of the chorale tune.

4.         The church cantata Meine Seel erhebt den Herren, (German Magnificat) BWV 10, was composed as part of Bach’s second cantata cycle. It commemorates Mary's visit to Elizabeth as narrated in the Gospel of Luke.

5.          The church cantata Ich ruf zu dir, Herr Jesu Christ (I call to You, Lord Jesus Christ), BWV 177. Bach composed the chorale cantata in Leipzig for the fourth Sunday after Trinity and first performed it on 6 July 1732. The cantata in five movement is scored for three soloists (soprano, alto and tenor), a four-part choir, two oboes, two oboes da caccia, two violins, viola, basso continuo, an obbligato violin and an obbligato bassoon.

6.         The church cantata Siehe, ich will viel Fischer aussenden (Behold, I will send out many fishers), BWV 88, was composed in Leipzig for the fifth Sunday after Trinity within the liturgical year and first performed it on 21 July 1726. The cantata is structured in two parts to be performed before and after the sermon, the first part in three solo movements, the second in three solo movements and a closing chorale. It is scored for four vocal soloists (soprano, alto, tenor and bass), a four-part choir only in the chorale, two horns, two oboes d'amore, taille, two violins, viola, and basso continuo.

7.          Erfreut euch, ihr Herzen (Rejoice, you hearts), BWV 66, is a church cantata composed it for the Second Day of Easter in Leipzig and first performed it on 10 April 1724. He based it on his congratulatory cantata Der Himmel dacht auf Anhalts Ruhm und Glück, BWV 66a, first performed in Köthen on 10 December 1718. Bach structured the cantata in six movements, an exuberant choral opening, a set of recitative and aria for bass, another such set for alto and tenor, and a closing chorale taken from the medieval Easter hymn "Christ ist erstanden". A Baroque instrumental ensemble included trumpet, two oboes, bassoon, strings and continuo. The music expresses moods of mourning and fear which should be overcome, but especially exhilarating joy.

8.         Ich lebe, mein Herze, zu deinem Ergötzen (I live, my heart, for your pleasure), BWV 145, is a five-movement church cantata, probably first performed in Leipzig on Easter Tuesday, 19 April 1729. It is one of less than a dozen extant cantatas and fragments of what is known as Bach's Picander cycle, or his fourth cantata cycle.

9.         Es ist das Heil uns kommen her (It is our salvation come here to us), BWV 9, is a church cantata composed in Leipzig for the sixth Sunday after Trinity between 1732 and 1735. Bach composed the cantata to fill a gap in his cycle of chorale cantatas written for performances in Leipzig from 1724. Bach scored the cantata for a chamber ensemble of four vocal parts, flauto traverso, oboe d'amore, strings and continuo. He gave all three recitatives to the bass, like a sermon interrupted in reflection by a tenor aria with solo violin and a duet of soprano and alto with the wind instruments.

10.    Vergnügte Ruh, beliebte Seelenlust (Delightful rest, beloved pleasure of the soul), BWV 170, is a solo cantata for alto composed in Leipzig for the sixth Sunday after Trinity and first performed it on 28 July 1726. The text of the cantata is drawn from Georg Christian Lehms' Gottgefälliges Kirchen-Opfer (1711) and speaks of the desire to lead a virtuous life and so enter heaven and avoid hell. The cantata is structured in five movements and scored for a small orchestra of oboe d'amore, two violins, viola, organ solo and basso continuo.

11.     Ärgre dich, o Seele, nicht (Do not be confounded, o soul), BWV 186, is a church cantata composed originally in Weimar in 1716 for Advent, BWV 186a, and expanded in Leipzig in 1723 for the seventh Sunday after Trinity, where he first performed it on 11 July 1723. The cantata is scored for four soloists and a four-part choir, two oboes, taille (tenor oboe), two violins, viola and basso continuo including bassoon. Its eleven movements are in two parts, movements 1 to 6 to be performed before the sermon, the others after the sermon.

12.    Was willst du dich betrüben (Why would you grieve), BWV 107, is a church cantata composed in Leipzig for the seventh Sunday after Trinity and first performed on 23 July 1724. Bach structured the cantata, the seventh work in his chorale cantata cycle, in seven movements: two framing choral movements, a recitative and an unusual sequence of four bipartite arias. He scored the work for three vocal soloists, a four-part choir, and a Baroque chamber ensemble of a horn to reinforce the hymn tune in the outer movements, two transverse flutes, two oboes d'amore, strings and continuo. It is the only known work from his chorale cantata cycle that kept the original words unchanged.

13.     Es wartet alles auf dich (Everything waits for You), BWV 187, is a church cantata composed in Leipzig for the seventh Sunday after Trinity and first performed on 4 August 1726. Bach later used the music from four movements of this cantata for his Missa in G minor, BWV 235. The cantata is scored for soprano, alto and bass soloists, a four-part choir, two oboes, two violins, viola, and basso continuo. Its seven movements are in two parts, movements 1 to 4 to be performed before the sermon, the others after the sermon.

14.    Es ist dir gesagt, Mensch, was gut ist (It has been told to you, man, what is good), BWV 45, is a church cantata composed in Leipzig for the eighth Sunday after Trinity and first performed it on 11 August 1726. The cantata in seven movements is scored for three vocal soloists (alto, tenor, and bass), a four-part choir, two flauti traversi, two oboes, two violins, viola and basso continuo.

15.     Lobe den Herrn, meine Seele (Praise the Lord, my soul), BWV 69a, is a church cantata composed in 1723 in Leipzig for the twelfth Sunday after Trinity and first performed it on 15 August 1723. It is part of his first annual cycle of cantatas. To express the praise of the words, the cantata is festively scored for soprano, alto, tenor and bass soloists and a four-part choir, three trumpets, timpani, three oboes, oboe da caccia, oboe d'amore, recorder, bassoon, two violins, viola, and basso continuo.

16.    Geist und Seele wird verwirret (Spirit and soul become confused), BWV 35, is a solo cantata for alto voice composed in Leipzig for the twelfth Sunday after Trinity and first performed it on 8 September 1726. The cantata is structured in seven movements in two parts, to be performed before and after the sermon. Both parts are opened by an instrumental sinfonia with solo organ, probably derived from concerto music composed earlier in Weimar or Köthen. The alto singer performs a sequence of alternating arias and recitatives, accompanied in all three arias by the organ as an equal partner. The orchestra is formed by two oboes, taille, strings and basso continuo. The alto part is demanding and was probably written with a specific singer in mind, as with the two other solo cantatas composed in the same period.

17.     Lobe den Herren, den mächtigen König der Ehren (Praise the Lord, the mighty King of honor), BWV 137, is a church cantata composed in Leipzig for the twelfth Sunday after Trinity and first performed it on 19 August 1725. The cantata in five movements is festively scored for four soloists, soprano, alto, tenor and bass, a four-part choir, three trumpets, timpani, two oboes, two violins, viola, and basso continuo.

18.    Ihr, die ihr euch von Christo nennet (You, who call yourselves of Christ), BWV 164, is a church cantata composed in 1725 in Leipzig for the 13th Sunday after Trinity and first performed on 26 August 1725. The setting of cantata is intimate: soprano, alto, tenor and bass soloists, two flauto traverso, two oboes, two violins, viola, and basso continuo. A four-part choir is only needed for the closing chorale, if at all. The cantata is in six movements.

19.    Allein zu dir, Herr Jesu Christ (Only upon You, Lord Jesus Christ,), BWV 33, is a church cantata composed in Leipzig in 1724 for the thirteenth Sunday after Trinity and first performed on 3 September 1724. The cantata in six movements is scored for three vocal soloists—alto, tenor and bass—a four-part choir, two oboes, two violins, viola, and basso continuo.

20.   Wer Dank opfert, der preiset mich (He who offers thanks praises Me), BWV 17, is a church cantata composed in Leipzig for the fourteenth Sunday after Trinity and first performed it on 22 September 1726. The text is based on the prescribed gospel reading telling of Jesus cleansing ten lepers. The cantata, structured in two parts to be performed before and after the sermon, is modestly scored for four vocal soloists and choir, and a Baroque orchestra of two oboes, strings and continuo. I loved the concluding chorale.

21.    Man singet mit Freuden vom Sieg (There are joyful songs of victory), BWV 149, is a church cantata composed in Leipzig for the Feast of Saint Michael and first performed on 29 September 1728 or 1729. It is his third and last of his extant cantatas for the feast. The topic is derived from the prescribed readings for the Sunday from the Book of Revelation, Michael fighting the dragon. The text focuses on the guardian angels, which the chorale mentions specifically for the situation of death. Bach structured the work in seven movements and scored it festively with four vocal parts and a Baroque orchestra of three trumpets, timpani, three oboes, bassoon, strings and continuo. He derived the opening chorus from his Hunting Cantata, composed already in 1713.

22.   Warum betrübst du dich, mein Herz (Why do you trouble yourself, my heart), BWV 138, is a church cantata composed for the 15th Sunday after Trinity and first performed it on 5 September 1723 in Leipzig. The cantata has seven movements and is scored for soloists and choir, two oboes d'amore, two violins, viola and basso continuo. The cantata has features of a chorale cantata although it was written a year before Bach's annual cycle of chorale cantatas. Bach used an aria as the base of the Gratias of his Missa in G major.

23.    Was Gott tut, das ist wohlgetan (What God does is well done), BWV 99, is a church cantata composed in Leipzig for the 15th Sunday after Trinity and first performed it on 17 September 1724. The cantata in six movements is scored for four vocal soloists (soprano, alto, tenor and bass), a four-part choir, horn, flauto traverso, oboe d'amore, two violins, viola and basso continuo.

24.   Jauchzet Gott in allen Landen ("Exult in God in every land" or "Shout for joy to God in all lands") BWV 51, is Bach's only church cantata scored for a solo soprano and trumpet. He used it for the 15th Sunday after Trinity: the first known performance was on 17 September 1730 in Leipzig. Bach structured the work in five movements, with the solo voice accompanied by a Baroque orchestra of a virtuoso trumpet, strings and continuo. While the outer movements with the trumpet express extrovert jubilation of God's goodness and his wonders, the central introspective aria, accompanied only by the continuo, conveys a "profound expression of commitment to God". He set the closing chorale as a chorale fantasia, the soprano sings the unadorned melody to a trio of two violins and continuo, leading to an unusual festive fugal Alleluja, in which the trumpet joins. The Bach scholar Klaus Hofmann notes that the work, unusually popular among Bach's church cantatas, is unique in the demanded virtuosity of the soprano and trumpet soloist, and evidences "overflowing jubilation and radiant beauty".

25.    Was Gott tut, das ist wohlgetan (What God does is done well), BWV 100, is a church cantata composed in Leipzig between 1732 and 1735. The work is scored for four vocal soloists (soprano, alto, tenor, and bass), four-part choir, two horns, timpani, flauto traverso, oboe d'amore, two violins, viola and basso continuo. The cantata has six movements.

26.   Bringet dem Herrn Ehre seines Namens (Bring to the Lord the honor due His name), BWV 148, is a church cantata written probably in 1723 in Leipzig for the 17th Sunday after Trinity. In accord with the festive theme, the cantata is scored for alto and tenor soloists, a four-part choir, trumpet, three oboes, two violins, viola, and basso continuo. It is in six movements. The opening chorus begins with as instrumental sinfonia, presenting the themes. The choir sings two fugues on different themes, but both derived from the beginning of the sinfonia. The trumpet plays a fifth part in the fugues. The movement concludes with the voices embedded in the sinfonia. The solo violin in the first aria illustrates both the joy in God and the Eilen (running) mentioned in the words. In the following aria the mystical unity of the soul with God is expressed in the unusual scoring for two oboe d'amore and oboe da caccia. The closing chorale is set for four parts

27.    Ach, lieben Christen, seid getrost (Ah, dear Christians, be comforted), BWV 114, is a chorale cantata composed in Leipzig for the 17th Sunday after Trinity and first performed it on 1 October 1724. Bach scored the cantata for four vocal parts, a horn to reinforce the chorale tune, a transverse flute, 2 oboes, strings and continuo.

28.   Wer sich selbst erhöhet, der soll erniedriget werden (Whoever exalts himself, will be), BWV 47, was composed in Leipzig for the 17th Sunday after Trinity and first performed on 13 October 1726. The cantata in five movements is scored for two vocal soloists (soprano and bass), a four-part choir, two oboes, two violins, viola, organ obbligato and basso continuo.

29.   Herr Christ, der einge Gottessohn (Lord Christ, the only Son of God), BWV 96, is a chorale cantata composed in Leipzig for the 18th Sunday after Trinity and first performed it on 8 October 1724. Bach set the first stanza as a chorale fantasia with the cantus firmus in the alto, adding sparkle by a "dancing" soprano and the illumination of a sopranino, which he used for the first time in his cantatas. In the four inner movements, all four vocal parts have their solo. A tenor aria is accompanied by an obbligato transverse flute, a part written for a virtuoso player. A bass aria is accompanied by a oboes on one side, strings on the other, acting as in a Venetian concerto. The cantata is closed with a simple four-part setting of the hymn tune.

30.    Du Friedefürst, Herr Jesu Christ (You Prince of Peace, Lord Jesus Christ), BWV 116, is a church cantata written in 1724 in Leipzig for the 25th Sunday after Trinity. He led the first performance it on 26 November 1724, concluding the liturgical year of 1724. Bach scored the cantata for four vocal soloists (soprano, alto, tenor, bass), a four-part choir and a Baroque instrumental ensemble of natural horn, enforcing the soprano in the hymn tune, two oboes d'amore, strings and basso continuo.

31.     Ich elender Mensch, wer wird mich erlösen (Wretched man that I am, who shall deliver me), BWV 48, is a church cantata composed in 1723 in Leipzig for the 19th Sunday after Trinity and first performed it on 3 October 1723. The cantata in seven movements is scored for alto and tenor soloists, a four-part choir, trumpet, two oboes, two violins, viola, and basso continuo.

32.    Gott der Herr ist Sonn und Schild (God the Lord is sun and shield), BWV 79, is a church cantata composed in Leipzig in 1725, Bach’s third year as Thomaskantor, for Reformation Day. He led the first performance on 31 October 1725. Bach composed a work of "festive magnificence", structured in six movements, with an aria following the opening chorus, a pair of recitative and duet following the first chorale. He scored the work for three vocal soloists, a four-part choir, and a Baroque instrumental ensemble of two horns, timpani, two transverse flutes (added for a later performance), two oboes, strings and continuo. He achieved a unity within the structure by using the horns not only in the opening but also as obbligato instruments in the two chorales, the first time even playing the same motifs.

33.     Nun danket alle Gott (Now thank ye all our God), BWV 192, is a church cantata composed in Leipzig in 1730. It is an incomplete cantata, and its three extant movements present it as a chorale cantata using unmodified stanzas of Martin Rinckart's "Nun danket alle Gott" (Now Thank We All Our God), written c.1636.

34.    Ein feste Burg ist unser Gott (Our God is a secure fortress), BWV 80, is a chorale cantata composed in Leipzig for Reformation Day, 31 October; an early version (BWV 80b) of the work may have been written as early as 1723, and a later version with an extended chorale fantasia as the opening movement was possibly written in 1735. The cantata is based on Martin Luther's hymn "Ein feste Burg ist unser Gott". Bach scored the cantata for four vocal soloists, a four-part choir and a Baroque chamber ensemble of up to three oboes of different kinds, strings and continuo. His son Wilhelm Friedemann Bach arranged the first and fifth movements after his father's death, adopting a new text and adding trumpets and timpani.

35.     Ach! ich sehe, itzt, da ich zur Hochzeit gehe (Ah! I see, now, when I go to the wedding), BWV 162, is a church cantata composed in Weimar for the 20th Sunday after Trinity and first performed it in 1715 or 1716. Bach structured the work in six movements. Like other cantatas written during this period in Weimar, it is scored for a small ensemble, four soloists, corno da tirarsi (likely added in Leipzig), two violins, viola, and basso continuo, including bassoon in movement 1. Only the chorale is set for four voices.

36.    Was Gott tut, das ist wohlgetan (What God does is well done), BWV 98, is a church cantata composed in Leipzig for the 21st Sunday after Trinity and first performed it on 10 November 1726. The cantata in five movements is intimately scored for four vocal soloists (soprano, alto, tenor and bass), a four-part choir, two oboes, taille (tenor oboe), two violins, viola, and basso continuo.

37.     Ich habe meine Zuversicht (I have placed my confidence), BWV 188, is a church cantata composed in Leipzig for the 21st Sunday after Trinity and probably first performed it on 17 October 1728. The work is scored for four solo voices (soprano, alto, tenor, and bass), a four-part choir, two oboes, taille, two violins, viola, organ, and basso continuo.

38.    Ich armer Mensch, ich Sündenknecht (I, wretched man, a servant to sin), BWV 55, is a church cantata composed in Leipzig for the 22nd Sunday after Trinity and first performed it on 17 November 1726. The cantata in five movements is scored for a tenor soloist, a four-part choir (only for the final chorale), flauto traverso, oboe d'amore, two violins, viola, and basso continuo.

39.    Was soll ich aus dir machen, Ephraim (What shall I make of you, Ephraim), BWV 89, is a church cantata composed in Leipzig for the 22nd Sunday after Trinity and first performed it on 24 October 1723. The cantata in six movements is scored for three vocal soloists (soprano, alto and bass), a four-part choir only in the chorale, horn, two oboes, two violins, viola, and basso continuo.

40.   Mache dich, mein Geist, bereit (Make yourself ready, my spirit), BWV 115, is a church cantata composed in Leipzig for the 22nd Sunday after Trinity and first performed it on 5 November 1724. The cantata in six movements is scored for four vocal soloists (soprano, alto, tenor and bass), a four-part choir, horn to double the soprano in the chorale, flauto traverso, oboe d'amore, two violins, viola, violoncello piccolo and basso continuo.

41.    O Ewigkeit, du Donnerwort (O eternity, you word of thunder), BWV 60 is a church cantata written in Leipzig for the 24th Sunday after Trinity, first performed on 7 November 1723. The cantata in five movements is scored for alto, tenor and bass soloist, a four-part choir (only for the final chorale), horn, two oboes d'amore, two violins, viola, and basso continuo.

42.   Wohl dem, der sich auf seinen Gott (Fortunate the person who upon his God), BWV 139, is a church chorale cantata composed in Leipzig for the 23rd Sunday after Trinity and first performed on 12 November 1724. The cantata in six movements is intimately scored for four vocal soloists (soprano, alto, tenor and bass), a four-part choir, two oboes d'amore, two violins, viola, and basso continuo.

43.    Nur jedem das Seine (To each his own!), BWV 163, is a church cantata composed in Weimar for the twenty-third Sunday after Trinity and first performed on 24 November 1715. The cantata in structured in six movements, beginning with an aria for tenor, followed by two pairs of recitative and aria, one for bass, the other for the duet of soprano and alto, and a concluding chorale when all four parts are united. As with several other cantatas on words by Franck, it is scored for a small Baroque chamber ensemble of two violins, viola, two cellos and basso continuo.

44.   Falsche Welt, dir trau ich nicht (False world, I don't trust you), BWV 52, is a solo cantata for soprano composed in Leipzig for the 23rd Sunday after Trinity, with its first performance on 24 November 1726. The cantata in six movements is scored for a soprano soloist, a four-part choir (only for the final chorale), two horns, three oboes, bassoon, two violins, viola, and basso continuo.

45.    Nun komm, der Heiden Heiland (Now come, Savior of the heathens), BWV 62, is a church cantata based on Martin Luther's hymn "Nun komm, der Heiden Heiland", composed in Leipzig for the first Sunday in Advent and first performed it on 3 December 1724. The cantata in six movements is scored for four vocal soloists (soprano, alto, tenor, and bass), a four-part choir, horn only to support the chorale melody, two oboes, two violins, viola, and basso continuo.

46.   Schwingt freudig euch empor (Soar joyfully upwards), BWV 36, is a church cantata composed in Leipzig in 1731 for the first Sunday in Advent, drawing on material from previous congratulatory cantatas, beginning with Schwingt freudig euch empor, BWV 36c (1725). The Gospel for the Sunday was the Entry into Jerusalem, thus the mood of the secular work matched "the people's jubilant shouts of Hosanna". In a unique structure in Bach's cantatas, he interpolated four movements derived from the former works with four stanzas from two important hymns for Advent, to add liturgical focus, three from Luther's "Nun komm, der Heiden Heiland" and one from Nicolai's "Wie schön leuchtet der Morgenstern". He first performed the cantata in its final form of two parts, eight movements, on 2 December 1731. The cantata is scored for four soloists—soprano, alto, tenor and bass—a four-part choir, two oboes d'amore, two violins, viola and basso continuo. It is structured in two parts of four movements each. Its interpolation of chorus and arias with chorales is unique in Bach's cantatas.

47.    Bereitet die Wege, bereitet die Bahn (Prepare the paths, prepare the road), BWV 132, is a church cantata composed in Weimar in 1715 for the fourth Sunday in Advent, with the first performance on 22 December 1715. Bach structured the music in six movements of alternating arias and recitatives, and scored it for a small ensemble of four vocal parts, oboe, strings and continuo. The voices are combined only in the closing chorale, the fifth stanza of Elisabeth Cruciger's hymn "Herr Christ, der einig Gotts Sohn".

48.   Johann Sebastian Bach composed the church cantata Herz und Mund und Tat und Leben (Heart and mouth and deed and life), BWV 147, in 1723 during his first year as Thomaskantor His cantata commemorates Mary's visit to Elizabeth as narrated in the Gospel of Luke in the prescribed reading for the feast day. Bach based the music on his earlier cantata BWV 147a, written originally in Weimar in 1716 for Advent. He expanded the Advent cantata in six movements to ten movements in two parts in the new work. Bach began the cantata with a chorus for the full orchestra, followed by alternating recitatives and arias with often obbligato instrument. He scored it for four vocal soloists, a four-part choir, and a Baroque instrumental ensemble of trumpet, two oboes, strings, and continuo.

49.   Selig ist der Mann (Blessed is the man), BWV 57, is a Christmas cantata in Leipzig in 1725 for the Second Day of Christmas, which was celebrated that year as St. Stephen's Day, and first performed on 26 December 1725. The setting for the cantata in seven movements is intimate: soprano and bass soloists, two oboes, oboe da caccia, two violins, viola, and continuo. The Anima is sung by the soprano, the bass is the vox Christi, the voice of Jesus. A four-part choir is only needed for the closing chorale, if at all. The oboes play only in the first and last movement, doubling the strings.

50.    Das neugeborne Kindelein (The new-born infant child), BWV 122, is a chorale cantata in six movements composed in Leipzig for the Sunday after Christmas and first performed it on 31 December 1724. This work is scored for four vocal soloists (soprano, alto, tenor, and bass), a four-part choir, three recorders, two oboes, taille, two violins, viola, and basso continuo with organ.

51.     Gottlob! nun geht das Jahr zu Ende (Praise God! The year now draws to a close), BWV 28, is a church cantata for the Sunday after Christmas. It was first performed on 30 December 1725. The cantata is scored for four vocal soloists (soprano, alto, tenor, bass) and four-part choir, cornetto, three trombones, two oboes, taille, two violins, viola and continuo.

52.    Lobe den Herrn, meine Seele (Praise the Lord, my soul), BWV 143, is an early cantata. It is not known if Bach composed the cantata for New Year's Day in Mühlhausen or Weimar, as the date of composition is unclear. Bach's authorship is doubted because the cantata has several features unusual for Bach's later cantatas: it is the only Bach cantata to combine three corni da caccia with timpani. The cantata is in seven movements which combine the three major text sources: psalm, hymn and contemporary poetry.

53.     Herr Gott, dich loben wir (Lord God, we praise You), BWV 16, is a church cantata composed in Leipzig for New Year's Day and first performed on 1 January 1726 as part of his third cantata cycle. The cantata in six movements is scored for three vocal soloists (alto, tenor, and bass), a four-part choir, corno da caccia, two oboes, oboe da caccia, two violins, viola, violetta (alternative in a later performance) and basso continuo.

54.    Gott, wie dein Name, so ist auch dein Ruhm (God, as Your name is, so is also Your praise), BWV 171, is a church cantata composed in Leipzig for New Year's Day and probably first performed it on 1 January 1729. Bach structured the cantata in six movements, an opening choral fugue, alternating arias and recitatives and closing chorale. He scored the work for four vocal soloists, a four-part choir and a festive Baroque instrumental ensemble of three trumpets and timpani, two oboes, strings and continuo. The oboes and strings play with the voices in motet style in the choral sections, while the trumpets add the style of a new time.

55.     Ach Gott, wie manches Herzeleid (Ah God, how much heartbreak), BWV 58, is a dialogue cantata in Leipzig for the Sunday after New Year's Day. Bach scored the work for a small Baroque instrumental ensemble of originally just strings and continuo, probably intended to ease the workload of musicians for the Christmas season. In a later version, he added a trio of oboes to the outer movements.

56.    Meinen Jesum laß ich nicht (I will not let go of my Jesus),] BWV 124, is a chorale cantata composed in Leipzig for the first Sunday after Epiphany and first performed it on 7 January 1725. The cantata in six movements is scored for four soloists, soprano, alto, tenor, and bass, a four-part choir, horn to play the cantus firmus with the soprano, oboe d'amore, two violins, viola, and basso continuo.

57.     Liebster Jesu, mein Verlangen (Dearest Jesus, my desire), BWV 32, is a dialogue cantata composed in Leipzig for the first Sunday after Epiphany and first performed on 13 January 1726 as part of Bach’s third cantata cycle. Bach structured the cantata in six movements, first alternating arias and recitative, then uniting the voices in recitative and aria, finally a chorale. The two soloists are supported by an intimate Baroque instrumental ensemble of oboe, strings and continuo. The oboe accompanies the soprano, a solo violin the bass, both play when the voices are united.

58.    Mein Gott, wie lang, ach lange? (My God, how long, ah, how long), BWV 155, is a church cantata first performed in Weimar on the second Sunday after Epiphany, on 19 January 1716. Similar to other Weimar cantatas, the work is scored for soprano, alto, tenor and bass soloists, a four-part choir for the chorale only if at all, an obbligato bassoon, two violins, viola, and basso continuo. It is structured in five movements.

59.    Ach Gott, wie manches Herzeleid (Oh God, how much heartache), BWV 3, is a chorale cantata composed in Leipzig for the Second Sunday after Epiphany and first performed it on 14 January 1725. Bach structured the cantata in six movements. An opening chorus and a closing chorale frame a sequence of alternating recitatives and arias. The first recitative is unusual: the chorus sings one line of the hymn's four lines, continued each time by a soloist in words of the poet. The last aria is a duet. Bach scored the work for four vocal soloists (soprano, alto, tenor, bass), a four-part choir and a Baroque instrumental ensemble of horn to double the cantus firmus in the closing chorale, trombone to reinforce the bass in the opening chorus, two oboes d'amore, two violins, viola, and basso continuo.

60.   The church cantata Wär Gott nicht mit uns diese Zeit (Were God not with us at this time), BWV 14, was composed in Leipzig in 1735 for the fourth Sunday after Epiphany and first performed on 30 January 1735, a few weeks after his Christmas Oratorio. The chorale cantata is based on Martin Luther's hymn "Wär Gott nicht mit uns diese Zeit", published in 1524. It is focused on the thought that our life depends on God's help and is lost without it. Bach structured the cantata in five movements. In the format typical for his chorale cantatas, the first and last movements are set for choir as a chorale fantasia and a closing chorale respectively. They frame a sequence of aria / recitative / aria which the librettist derived from the middle stanza of the hymn. Bach scored the work for three vocal soloists (soprano, tenor and bass), a four-part choir, and a Baroque instrumental ensemble: corno da caccia, two oboes, two violins, viola, and basso continuo.

61.    Erhalt uns, Herr, bei deinem Wort (Sustain us, Lord with your word), BWV 126, is a chorale cantata composed in 1725 in Leipzig for the Sunday Sexagesimae, the second Sunday before Lent, and first performed on 4 February 1725. Bach structured the cantata in six movements. In the typical format of Bach's chorale cantatas, the first and last movement on the first and stanza of the hymn are set for choir, as a chorale fantasia and a closing chorale. They frame alternating arias and recitatives with the librettist's text. Bach scored the work for three vocal soloists (alto, tenor and bass), a four-part choir, and a Baroque instrumental ensemble: trumpet, two oboes, two violins, viola, and basso continuo.

62.   Jesus nahm zu sich die Zwölfe (Jesus gathered the twelve to Himself), BWV 22, is a church cantata composed for Quinquagesima, the last Sunday before Lent. Bach composed it as an audition piece for the position of Thomaskantor in Leipzig and first performed it there on 7 February 1723. The work, which is in five movements, begins with a scene from the Gospel reading in which Jesus predicts his suffering in Jerusalem. The cantata is scored for three vocal soloists (an alto, tenor and bass), a four-part choir, and for a Baroque orchestra of an oboe, two violins, viola and basso continuo.

63.    Du wahrer Gott und Davids Sohn (You true God and Son of David), BWV 23, is a church cantata composed it in Köthen between 1717 and 1723 for Quinquagesima Sunday and performed it as an audition piece for the position of Thomaskantor in Leipzig on 7 February 1723. The Sunday was the last occasion for music at church before the quiet time of Lent. Bach structured the cantata in four movements: a duet for soprano and alto, a recitative for tenor, a chorus, and a closing chorale. He scored it for the three vocal soloists, a four-part choir and a Baroque instrumental ensemble.

64.   Himmelskönig, sei willkommen (King of Heaven, welcome), BWV 182, is a church cantata composed in Weimar for Palm Sunday, and first performed it on 25 March 1714, which was also the feast of the Annunciation that year. The cantata in eight movements is scored for alto, tenor, and bass soloists, a four-part choir, recorder, two violins, two violas and basso continuo.

65.    Widerstehe doch der Sünde (Just resist sin), BWV 54, is a solo cantata for alto composed in Weimar between 1711 and 1714, and probably performed it on the seventh Sunday after Trinity, 15 July 1714. It is Bach's first extant church cantata for a solo voice. The cantata, structured in three movements, is scored as chamber music for a solo alto voice, two violins, two violas, and basso continuo

66.   Am Abend aber desselbigen Sabbats (On the evening, however, of the same Sabbath), BWV 42, is a church cantata composed for the first Sunday after Easter in Leipzig and first performed on 8 April 1725. The cantata in seven movements is scored for soprano, alto, tenor, and bass soloists, a four-part choir only in the closing chorale, two oboes, bassoon, two violins, viola and basso continuo.

67.    Der Friede sei mit dir (Peace be with you), BWV 158, is the shortest of the cantatas by Johann Sebastian Bach and features a bass soloist. It survives as a cantata for the third day of Easter but might be a fragment of a work originally written for Purification. The cantata is scored for soprano and bass vocal soloists, four-part choir, oboe, violin, and basso continuo.

68.   Du Hirte Israel, höre (You Shepherd of Israel, hear), BWV 104, is a church cantata composed for the second Sunday after Easter in Leipzig and first performed on 23 April 1724. The cantata in six movements is scored for tenor and bass soloists, a four-part choir, two oboes d'amore, taille (tenor oboe), two violins, viola and basso continuo. Bach referred to the pastoral aspect of the text in his music.

69.   ch bin ein guter Hirt (I am a Good Shepherd), BWV 85, is a church cantata composed in Leipzig for the second Sunday after Easter and first performed on 15 April 1725. The cantata in six movements is scored for four vocal soloists (soprano, alto, tenor and bass), a four-part choir only in the chorale, two oboes, two violins, viola, violoncello piccolo and basso continuo.

70.    Der Herr ist mein getreuer Hirt (The Lord is my faithful Shepherd), BWV 112, is a cantata for the second Sunday after Easter. Bach composed the chorale cantata in Leipzig and first performed it on 8 April 1731. He scored the cantata for four vocal soloists, a four-part choir and a Baroque instrumental ensemble of two horns, two oboes d'amore, strings and continuo. Bach scholars agree that the brass instruments, normally reserved for Feast days, could come from an earlier chorale fantasia of the same melody with the text of the German Gloria.

71.     Wo gehest du hin? ("Where do you go?"), BWV 166, is a church cantata composed in Leipzig for Cantate, the fourth Sunday after Easter, and first performed it on 7 May 1724. The cantata in six movements is scored for four vocal soloists (soprano, alto, tenor and bass), a four-part choir only for the closing chorale, oboe, two violins, viola and basso continuo.

72.    Es ist euch gut, daß ich hingehe (It is good for you that I leave), BWV 108, is a church cantata composed in Leipzig for Cantate Sunday, the fourth Sunday after Easter, and first performed it on 29 April 1725. Bach scored the cantata for three vocal soloists (alto, tenor and bass), a four-part choir, and a Baroque instrumental ensemble of two oboes d'amore, strings and continuo. He used elements of word-painting, such as very long notes to illustrate firm belief, and sigh motifs interrupted by rests to illustrate the desiring heart.

73.     Sei Lob und Ehr dem höchsten Gut (Praise and honour be to the highest good), BWV 117, is a church cantata composed in Leipzig between 1728 and 1731 for no specific occasion. The work is scored for three vocal soloists (alto, tenor, and bass), a four-part choir, two flutes, two oboes, two oboes d'amore, two violins, viola, and basso continuo.

74.    Wahrlich, wahrlich, ich sage euch (Truly, truly I say to you), BWV 86, is a church cantata composed in Leipzig for Rogate, the fifth Sunday after Easter, and first performed it on 14 May 1724. Bach structured the cantata in six movements, a gospel quotation in the beginning, chorales as movements 3 and 6, otherwise recitatives and arias. He scored it for three vocal soloists, a four-part choir and a Baroque instrumental ensemble of two oboes d'amore, strings and continuo.

75.     Bisher habt ihr nichts gebeten in meinem Namen (Until now you have asked for nothing in My name), BWV 87, is a church cantata composed in Leipzig for Rogate, the fifth Sunday after Easter, and first performed it on 6 May 1725. The cantata in seven movements is scored for three vocal soloists (alto, tenor and bass), a four-part choir only for the closing chorale, two oboes, two oboes da caccia, two violins, viola and basso continuo.

76.    In allen meinen Taten (In all that I do / In all my undertakings), BWV 97, is a church cantata composed in Leipzig in 1734 for an unspecified occasion. The cantata is scored for four vocal soloists (soprano, alto, tenor, and bass), a four-part choir, two oboes, bassoon, two violins, viola, and basso continuo.

77.     Erschallet, ihr Lieder, erklinget, ihr Saiten!, "Ring out, you songs; sound, you strings!", BWV 172, is a church cantata composed in Weimar in 1714 for Pentecost Sunday. Bach led the first performance on 20 May 1714 in the Schlosskirche, the court chapel in the ducal Schloss. The work is in six movements, and scored for four vocal soloists, four-part choir, three trumpets, timpani, oboe, bassoon and a string orchestra of two violins, two violas, and basso continuo. The orchestra for the holiday occasion is festive. The cantata opens with a chorus, followed by the recitative, in which words spoken by Jesus are sung by the bass as the vox Christi (voice of Christ). A bass aria with trumpets addresses the Trinity, and a tenor aria then describes the Spirit that was present at the Creation. This is followed by an intimate duet of the Soul (soprano) and the Spirit (alto), to which an oboe plays the ornamented melody of Martin Luther's hymn "Komm, Heiliger Geist, Herre Gott" and a solo cello provides the bass line. The theme of intimacy between God and Man is developed further in the following chorale, after which Bach specified an unusual repeat of the opening chorus.

78.    O ewiges Feuer, o Ursprung der Liebe (O eternal fire, o source of love), BWV 34, is a church cantata composed in Leipzig in for Pentecost Sunday, based on an earlier wedding cantata, BWV 34a, beginning with the same line. Bach led the first performance on 1 June 1727. Bach structured the cantata in five movements, with two choral movements framing a sequence of recitative–aria–recitative. Bach scored the work for three vocal soloists (alto, tenor, bass), a four-part choir and a Baroque instrumental ensemble of three trumpets, timpani, two flauti traversi, two oboes, two violins, viola and basso continuo. The Bach scholar Christoph Wolff describes the "large-scale instrumental scoring" as "suited to the festive occasion".

79.    Erhöhtes Fleisch und Blut (Exalted flesh and blood), BWV 173, is a church cantata composed in Leipzig for Pentecost Monday and first performed it on 29 May 1724. The cantata in six movements is scored for four vocal soloists (soprano, alto, tenor and bass), a four-part choir, two flauto traverso, two violins, viola and basso continuo, whereas the original secular cantata is scored for only soprano and bass soloists.

80.   Erwünschtes Freudenlicht (Desired light of joy), BWV 184, is a cantata composed in Leipzig for the third day of Pentecost (Whit Tuesday) and first performed it on 30 May 1724. Bach scored the work for three vocal soloists (soprano, alto and tenor), a four-part choir, and a Baroque instrumental ensemble: two transverse flutes, two violins, viola, and basso continuo.

81.    Er rufet seinen Schafen mit Namen (He calls His sheep by name), BWV 175, is a church cantata composed in Leipzig for the third day of Pentecost and first performed on 22 May 1725. The cantata in seven movements is distinctively scored for three vocal soloists (alto, tenor and bass), a four-part choir only in the closing chorale, two trumpets, three recorders, two violins, viola, violoncello piccolo and basso continuo. The recorders give a pastorale character to the first part about the Good Shepherd.

82.   Höchsterwünschtes Freudenfest (Most highly desired festival of joy), BWV 194, is a church cantata composed in Leipzig for dedication of the church and organ at Störmthal on 2 November 1723. Bach scored the work for three vocal soloists, a four-part choir and a Baroque instrumental ensemble of three oboes, bassoon, strings and continuo.

83.    O heilges Geist- und Wasserbad (O holy bath of Spirit and water), BWV 165, is a church cantata composed in Weimar for Trinity Sunday and had its first performance on 16 June 1715. The music is structured in six movements, alternating arias and recitatives, and scored for a small ensemble of four vocal parts, strings and continuo.

84.   Gelobet sei der Herr, mein Gott (Praised be the Lord, my God), BWV 129, is a church cantata performed on Trinity Sunday 8 June 1727 in Leipzig. The text of the cantata is a general praise of the Trinity, without a reference to a specific gospel reading. The cantata in five movements is festively scored for three soloists, soprano, alto and bass, a four-part choir, three trumpets, timpani, flauto traverso, two oboes, oboe d'amore, two violins, viola, and basso continuo.

85.    Gott fähret auf mit Jauchzen ("God goes up with jubilation"), BWV 43, is a church cantata composed in Leipzig for the Feast of the Ascension and first performed on 30 May 1726. The cantata is festively scored for four vocal soloists (soprano, alto, tenor and bass), a four-part choir, three trumpets, timpani, two oboes, two violins, viola and basso continuo.

86.   Wer da gläubet und getauft wird (He who believes and is baptised), BWV 37, is a cantata for the feast of the Ascension. Bach composed it in Leipzig and first performed it on 18 May 1724. The work is Bach's first cantata composition for the feast of the Ascension. Surprisingly for a high feast day, it is modestly scored; only two oboes d'amore add to the sound of the regular stings and basso continuo, accompanying four vocal parts.

87.    Auf Christi Himmelfahrt allein (On Christ's ascension into heaven alone), BWV 128, is a church cantata composed in Leipzig for the Feast of the Ascension and first performed it on 10 May 1725. The cantata in five movements is festively scored for three vocal soloists, alto, tenor and bass, a four-part choir, two horns, two oboes, oboe d'amore, oboe da caccia, two violins, viola and basso continuo. The instrumentation is especially rich and varied, Julian Mincham observes: "As befits its importance, the instrumental forces are relatively large and impressive; two horns, oboes of every kind, strings and continuo and latterly one trumpet".

88.   Lobet Gott in seinen Reichen (Laud to God in all his kingdoms), BWV 11, known as the Ascension Oratorio (Himmelfahrtsoratorium), probably composed in 1735 for the service for Ascension and first performed on 19 May 1735. The oratorio spans eleven movements in two parts to be performed before and after the sermon, 1–6 before the sermon and 7–11 after the sermon.

Luther’s underlying purpose of his psalms is to prepare the believer ‘to die blessedly’ and to comfort the bereaved with the notion that life is essentially a preparation for death: acceptance of this provides the only reliable way of coming to terms with our humanity and the futility of our endeavours.

Quotes:

·       Invention requires fire and spirit, the arrangement of it order and proportion; its working out cold blood and calculated reflection. (JohannMattheson)

·       I live only for music, it’s the only thing that carries me over this abyss of miseries of every kind. (Berlioz)