Index to References - Bach Compendium - Work Group A: Cantatas for the Sundays and Feat Days of the Lithugical Year

Index to References to Bach Cantatas & Other Vocal Works Bach Compendium Work Group A: Cantatas for the Sundays and Feast Days of the Liturgical Year
Group Description
Work Group A consists of cantatas for Sundays and feast days of the liturgical year, from the 1^st Sunday in Advent through the 27^th Sunday after Trinity, for feasts of the Blessed Virgin Mary, Saint Michael, and Saint John, and for the Festival of the Reformation. Within each individual Sunday or feast day, the cantatas are arranged chronologically, whenever possible. Cantatas "in ogni tempo", or without any designation at all, are presented at the end of this work group (cantatas for occasions outside the liturgical year -jo Work Group B) According to the available evidence concerning his estate (Obituary, Dok III, p. 86; Bach Reader, p.221), Bach is reported to have left behind "five cycles of sacred works, for all Sundays and feast days." These have not survived in their entirety, however. Bach had begun to compose cycles of cantatas in Weimar in early 1714 (→ A 51, A 53) in conjunction with his appointment as concert master on March 2, 1714 ("for which he shall present new works each month," Dok II, p. 53). But the bulk of the repertoire was composed during his years in Leipzig, beginning with May 30 (1^st Sunday after Trinity) 1723 (Dok II, p. 104f.). Most of the surviving cantatas may be assigned to three annual cycles. The first, which is designed in part as a double cycle, begins with the 1^st Sunday after Trinity in 1723 (→ A 94) and continues until Trinity Sunday of 1724 (→ A 91a). Of the 56 cantatas that may be assigned to this cycle, approximately one-fourth were written during the Weimar period, while severa) others represent parodies of secular cantatas composed while at Cöthen. The second cycle, which was conceived as a unified cycle of chorale cantatas, was begun on the 1^st Sunday after Trinity in 1724 (→ A 95) but continued only through the Feast of the Annunciation in 1725 (→ A 173); later additions to this cycle can be documented from as late as 1735 (→ A 40). Most of the 52 cantatas attributable to this cycle are original compositions (important exceptions: → A 54a/b, A 183a/b). Work on the third cycle, begun at Easter of 1725 (→ D 8a), appears to have been drawn out over a rather lengthy period of time, to at least early 1727 (→ A 169a). Approximately 46 cantatas may be attributed to this cycle, including the later additions made in the 1730's. There was a marked decrease in the composition of cantatas between February 2 and September 15, 1726; during this time, Bach performed a total of 18 such works by his cousin from Meiningen, Johann Ludwig Bach. The fourth cycle, composed largely to texts by Christian Friedrich Henrici (Picander), is represented by only nine works, some of which have survived only as fragments. These may be ascribed to the period between September 29, 1728 (→ A 181) and June 6, 1729 (→ A 87). Although there is no evidence to suggest what the nature of an independent fifth cycle might have been, one cannot exclude the possibility that Bach composed a later cycle of cantatas in the 1730's and 1740's that, with the exception of a few scattered traces (→ A 192), may well have been completely lost with Wilhelm Friedemann Bach's portion of his father's estate. After 1729, only a few isolated new compositions or parodies on secular works are verifiable. Some of these works were intended to fill the gaps remaining in previous cycles. At the same time, there are indications of relatively numerous repeat performances, both of individual cantatas and of groups of cantatas from the repertoire assembled after 1723. Evidence of lost cantatas is available primarily from collections of chorales, both manuscript and published, from 1735 onward (→ Z 1; Work Group F). The incomplete transmission of the cantata cycles is due, above all else, to the dispersal of Bach's estate in 1750. According to Forkel (p. 61), the "cycles were divided among the eldest sons after the composer's death, and in such a way that Wilh. Friedemann received the largest share, because he could make the most use of them in the position he then held at Halle. His subsequent circumstances forced him to sell, little by little, that which he had inherited." The inventory of Carl Philipp Emanuel Bach's estate, printed in 1790 (Dok III, No. 957), and other documents (see Dok III, No. 831; NBA 1115, Krit. Bericht, p. 205f.) show that Bach's second-oldest son inherited the first cycle in alternating scores and parts according to the sequence of the liturgical year, and the third cycle almost exclusively in scores, with duplicate parts (usually V 1, V 2, Bc). The second cycle (the chorale cantatas) was divided between Anna Magdalena Bach, who received the parts, which she in turn passed on to the St. Thomas School in Leipzig later in 1750 (Dok II, No. 621), and W.F. Bach, who received the scores and duplicate parts. Beyond this, one can only speculate about any further inheritance by the oldest son, who received "the largest share," and the consideration given to Johann Christoph Friedrich Bach and Johann Christian Bach. The two youngest sons probably inherited, respectively, the material for the first cycle (→ A 97, Sources: with the notation "Friederich" = J.C.F. Bach) and the third cycle (→ A 96, Sources: with the notation "Carl u. Christel" = J.C. Bach), in so far as these materials were not a part of C.P.E. Bach's inheritance. In contrast to later terminological use, Bach limited the designation "cantata" to the solo cantata (→ A 120, A 134). For other types of cantatas, he used terms such as "concerto" or "dialogus", or the works bore no corresponding designation of any kind. In his letters, Bach speaks of "cburch pieces" ("Kirchen Stücke") (Dok I, No. 22; Bach Reader, p.120-124) or "musical church pieces" ("musicalische Kirchen Stücke") (Dok I, No. 34; Bach Reader, p. 140f.). These designations pertain to any compasition for vocalist(s) and obbligato instruments on a biblical text, a chorale text, or a freely composed verse. Traditionally, the sacred cantata's place in the liturgy came between the Gospel and the Creed (in the form of a chorale) immediately preceding the sermon. In Leipzig, a cantata (or the first part of a cantata) was often performed before the sermon, with a second cantata (or the second part of a two-part cantata) performed after the sermon, i. e., "sub communione" (on the order of the Leipzig liturgy, see Dok I, No. 178 and 181). Similar liturgical practices were probably also observed in Weimar. In Leipzig, it was customary for the most important musical performances - the "Hauptmusik" - to alternate between the St. Nicholas and the St. Thomas Churches from Sunday to Sunday. On high feast days there were performances in both churches: early in the morning in the St. Nicholas Church where the first choir of the Thomanerchor would perform under Bach's direction; and later in St. Thomas, where the second choir would be conducted by one of the prefects. At vespers, the first choir sang in the St. Thomas Church, the second in St. Nicholas. There were also musical duties in connection with the "old serice" of the University Church during the first days of the three high feasts. These obmay have extended to the St. John Church as well, but it is difficult to say very much at all about any of this repertoire with any degree of certainty (perhaps primarily music by other composers). As early as Johann Kuhnau's era, it was customary to provide librettos that would enable churchgoers to read along during performances, and Bach continued in this tradition. Surviving exemplars (→ Abbreviations: 3. Librettos) show that these booklets were routinely printed five to eight weeks in advance. This, in turn, would have required a corresponding degree of planning for the musical performances. There are only a very few copies of cantatas that might conceivably have been performed outside of Bach's immediate circle before 1750; such materials are nevertheless found as far away as southern Germany. The more abundant materials for the transmission of Bach's cantatas after 1750, particularly the performing parts, center around W.F. Bach in Halle and C.P.E. Bach in Hamburg, as well as J.G. Nacke (and Christian Friedrich Penzel) in Oelsnitz/Vogtland. Several of the parts for the chorale cantata cycle, which have been in the possession of the St. Thomas School in Leipzig since 1750, show evidence of having been used for performances during subsequent years when Johann Gottlob Harrer and Johann Friedrich Doles were cantors there. A revival of this tradition began in 1804 under the cantor August Eberhard Müller; the first edition of a Bach cantata from 1821 (→ A 183b) may be cited in this connection. A new beginning in the cultivation of Bach's cantatas was initiated with the Berlin Singakademie's continuing performances, begun under C.F. Zelter in 1812. These performances may be linked to a number of first publications, edited by A. B. Marx in 1830 (→ A 118, A 119, A 69, A 65, A 114, and B 18), and by J.P. Schmidt in 1843-1844 (→ A 41, A 53, A 101).

Synopsis - List by Group and BC Number - Group A
BC	BWV	BGA	NBA	Year	Title / Comments
					1^st Sunday in Advent
A 1	61	XVI	I/1	1714	Nun komm, der Heiden Heiland (I)
A 2	62	XVI	I/1	1724	Nun komm, der Heiden Heiland (II)
A 3	36	VII	I/1	1726-1730	Schwingt freudig euch empor (earlier version) → G 35
A 3	36	VII	I/1	1731	Schwingt freudig euch empor (later version)

					2^nd Sunday in Advent
[A 4]	70a	-	-	1716	Wachet! betet! betet! wachet! (Weimar version) → A 165

					3^rd Sunday in Advent
A 5	186a	-	I/1	1717	Ärgre dich, o Seele, nicht (Weimar version) → A 108

					4^th Sunday in Advent
A 6	132	XXVIII	I/1	1715	Bereitet die Wege, bereitet die Bahn
A 7	147a	-	I/1	1716	Herz und Mund und Tat und Leben (Weimar version, incomplete) → A 174

					Christmas Day
A 8	63	XVI	I/2	1714-1715	Christen, ätzet diesen Tag
A 9a	[91]	XXII	I/2	1724	Gelobet seist du, Jesu Christ (earlier version)
A 9b	91	XXII	I/2	1746-1747	Gelobet seist du, Jesu Christ (later version)
A 10	110	XXIII	I/2	1725	Unser Mund sei voll Lachens
A 11	197A	XLI	I/2	1728	Ehre sei Gott in der Höhe (incomplete) → B16
E 16	191	XLI	I/2	1740	Gloria in excelsis Deo → E 2
D 7^I	248/^I	V/2	II/6	1734-1735	Weihnachts-Oratorium , Part I → G 18, G 19

					2^nd Day of Christmas
A 12	40	VII	I/3.1	1723	Dazu ist erschienen der Sohn Gottes
A 13	121	XXVI	I/3.1	1724	Christum wir sollen loben schon
A 14	57	XII/2	I/3.1	1725	Selig ist der Mann
D 7^II	248/^II	V/2	II/6	1734-1735	Weihnachts-Oratorium, Part II → G 18, G 19

					3^rd Day of Christmas
A 15	64	XVI	I/3.1	1723	Sehet, welch eine Liebe hat uns der Vater erzeiget
A 16	133	XXVIII	I/3.1	1724	Ich freue mich in dir
A 17	151	XXXII	I/3.1	1725	Süßer Trost, mein Jesus kömmt
D 7^III	248/^III	V/2	II/6	1734-1735	Weihnachts-Oratorium, Part III → G 18, G 19

					Sunday after Christmas
A 18	152	XXXII	I/3.2	1714	Tritt auf die Glaubensbahn
A 19	122	XXVI	I/3.2	1724	Das neugeborene Kindelein
A 20	28	V/1	I/3.2	1725	Gottlob! nun geht das Jahr zu Ende

					New Year's Day
A 21	190	XXXVII	I/4	1724	Singet dem Herrn ein neues Lied (incomplete) → B 27
A 22	41	X	I/4	1725	Jesu, nun sei gepreiset
A 23	16	II	I/4	1726	Herr Gott, dich loben wir
A 24	171	XXXV	I/4	1729	Gott, wie dein Name, so ist auch dein Ruhm
D 7^IV	248/^IV	V/2	II/6	1734-1735	Weihnachts-Oratorium, Part IV → G 18

					Sunday after New Year's Day
A 25	153	XXXII	I/4	1724	Schau, lieber Gott, wie meine Feind
A 26a	[58]	XII/2	I/4	1727	Ach Gott, wie manches Herzeleid (earlier version, incomplete)
A 26b	58	XII/2	I/4	1733-1734	Ach Gott, wie manches Herzeleid (later version)
D 7^V	248/^V	V/2	II/6	1734-1735	Weihnachts-Oratorium, Part V → G 21

					Epiphany
A 27	65	XVI	I/5	1724	Sie werden aus Saba alle kommen
A 28	123	XXVI	I/5	1725	Liebster Immanuel, Herzog der Frommen
D 7^VI	248/^VI	V/2	II/6	1734-1735	Weihnachts-Oratorium, Part VI → A 190, G 30

					1^st Sunday after Epiphany
A 29	154	XXXII	I/5	1724	Mein liebster Jesus ist verloren
A 30	124	XXVI	I/5	1725	Meinen Jesum laß ich nicht
A 31	32	VII	I/5	1726	Liebster Jesu, mein Verlangen

					2^nd Sunday after Epiphany
A 32	155	XXXII	I/5	1716	Mein Gott, wie lang, ach lange?
A 33	3	I	I/5	1725	Ach Gott, wie manches Herzeleid (I)
A 34	13	II	I/5	1726	Meine Seufzer, meine Tränen

					3^rd Sunday after Epiphany
A 35	73	XVIII	I/6	1724	Herr, wie du willt, so schicks mit mir
A 36	111	XXIV	I/6	1725	Was mein Gott will, das g'scheh allzeit
A 37	72	XVIII	I/6	1726	Alles nur nach Gottes Willen
A 38	156	XXXII	I/6	1729	Ich steh mit einem Fuß im Grabe

					4^th Sunday after Epiphany
A 39	81	XX/1	I/6	1724	Jesus schläft, was soll ich hoffen?
A 40	14	II	I/6	1735	Wär Gott nicht mit uns diese Zeit

					Septuagesimae
A 41	144	XXX	I/7	1724	Nimm, was dein ist, und gehe hin
A 42	92	XXII	I/7	1725	Ich hab in Gottes Herz und Sinn
A 43	84	XX/1	I/7	1727	Ich bin vergnügt mit meinem Glücke

					Sexagesimae
A 44a	[18]	II	I/7	1713	Gleichwie der Regen und Schnee vom Himmel fällt (Weimar version)
A 44b	18	II	I/7	1724	Gleichwie der Regen und Schnee vom Himmel fällt (Leipzig Version)
A 45	181	XXXVII	I/7	1724	Leichtgessinte Flattergeister (incomplete)
A 46	126	XXVI	I/7	1725	Erhalt uns Herr, bei deinem Wort

					Estomihi - Q
A 47a	[23]	V/1	I/8.1	1723	Du wahrer Gott und Davids Sohn (1^st version)
A 47b	[23]	V/1	I/8.1	1723	Du wahrer Gott und Davids Sohn (intermediate version)
A 47c	23	V/1	I/8.1	1724	Du wahrer Gott und Davids Sohn (final version)
A 48	22	V/1	I/8.1	1723	Jesus nahm zu sich die Zwölfe
A 49	127	XXVI	I/8.1	1725	Herr Jesu Christ, wahr' Mensch und Gott
A 50	159	XXXII	I/8.1	1729	Sehet! wir gehn hinauf gen Jerusalem

					Oculi
A 51	54	XII/2	I/18	1714	Widerstehe doch der Sünde
A 52	80a	-	-		Alles, was von Gott geboren → A 183a

					Palm Sunday
A 53	182	XXXVII	I/8.2	1714	Himmelskönig, sei willkommen → A 172

					Good Friday
D 1-6					Passion Music

					Easter Sunday
A 54a	[4]	I	I/9	1707-1708	Christ lag in Todesbanden (earlier version)
A 54b	4	I	I/9	1724/1725	Christ lag in Todesbanden (Later version)
A 55a	31	VII	I/9	1715	Der Himmel lacht! Die Erde jubilieret (Weimar version)
A 55b	31	VII	I/9	1724/1731	Der Himmel lacht! Die Erde jubilieret (Leipzig version)
D 8	249	XXI/3	II/7	1725	Oster-Oratorium - Easter Oratorio

					Easter Monday
A 56	66	XVI	I/10	1724	Erfreut euch, ihr Herzen → G 4
A 57	6	I	I/10	1725	Bleib bei uns, denn es will Abend werden
A 58	deest				Ich bin ein Pilgrim auf der Welt (Fragment, details unknown)

					Easter Tuesday
A 59a	[134]	XXVIII	I/10	1724	Ein Herz, das seinen Jesum lebend weiß (earelier version) → G 5
A 59b	134	XXVIII	I/10	1724	Ein Herz, das seinen Jesum lebend weiß (later version)
A 60	145	XXX	I/10	1729	Ich lebe, mein Herze, zu deinem Ergötzen
A 61	158	XXXII	I/10	1728-31	Der Friede sei mit dir → A 171

					Quasimodogeniti - 1^st Sunday after Easter
A 62	67	XVI	I/11.1	1724	Halt im Gedächtnis Jesum Christ
A 63	42	X	I/11.1	1725	Am Abend aber desselbigen Sabbats
A 64	deest	-			Cantata sketch (or draft), text & tune (or musical content) unknown, presumably same as A 63

					Misericordias Domini - 2^nd Sunday after Easter
A 65	104	XXIII	I/11.1	1724	Du Hirte Israel, höre
A 66	85	XX/1	I/11.1	1725	Ich bin ein guter Hirt
A 67	112	XXIV	I/11.1	1731	Der Herr ist mein getreuer Hirt

					Jubilate - 3^rd Sunday after Easter
A 68	12	II	I/11.1	1714	Weinen, Klagen, Sorgen, Zagen
A 69	103	XXIII	I/11.2	1725	Ihr werdet weinen und heulen
A 70	146	XXX	I/11.2	1726	Wir müssen durch viel Trübsal in das Reich Gottes eingehen

					Cantate - 1^st Sunday after Easter
A 71	166	XXXIII	I/12	1724	Wo gehest du hin? (incomplete)
A 72	108	XXIII	I/12	1725	Es ist euch gut, daß ich hingehe

					Rogate - 1^st Sunday after Easter
A 73	86	XX/1	I/12	1724	Wahrlich, wahrlich, ich sage euch
A 74	87	XX/1	I/12	1725	Bisher habt ihr nichts gebeten in meinem Namen

					Ascension Day
A 75	37	VII	I/12	1724	Wer da gläubet und getauft wird
A 76	128	XXVI	I/12	1725	Auf Christi Himmelfahrt allein
A 77	43	X	I/12	1726	Gott fähret auf mit Jauchzen
D 9	11	II	II/8	1735	Himmelfahrts-Oratorium - Ascension Oratorio → G 39, G 42, E 1^IV

					Exaudi - Sunday after Ascension Day
A 78	44	X	I/12	1724	Sie werden euch in den Bann tun (I)
A 79	183	XXXVII	I/12	1725	Sie werden euch in den Bann tun (II)
A 80	deest	-			Cantata sketch, text & tune unknown, presumably same as A 79

					Whit Sunday
A 81	172	XXXV	I/13	1714
A 82	59	XII/2	I/13	1723
A 83	74	XVIII	I/13	1725
A 84	34	VII	I/13	1740

					Whit Monday
A 85	173	XXXV	I/14	1724
A 86	68	XVI	I/14	1725
A 87	174	XXXV	I/14	1729

					Whit Tuesday
A 88	184	XXXVII	I/14	1724
A 89	175	XXXV	I/14	1725

					Trinity Sunday
A 90	165	XXXIII	I/15	1715
A 91	194	XXIX	I/31	1723	Also B 31
A 92	176	XXXV	I/15	1725
A 93	129	XXVI	I/15	1726

					1^st Sunday after Trinity
A 94	75	XVIII	I/15	1723
A 95	20	II	I/15	1724
A 96	39	VII	I/15	1726

					2^nd Sunday after Trinity
A 97	76	XVIII	I/16	1723	Also A 185
A 98	2	I	I/16	1724

					3^rd Sunday after Trinity
A 99	21	V/1	I/16	1714
A 100	135	XXVIII	I/16	1724

					4^th Sunday after Trinity
A 101	185	XXXVII	I/17.1	1715
A 102	24	V/1	I/17.1	1723
A 103	177	XXXV	I/17.1	1732

					5^th Sunday after Trinity
A 104	93	XXII	I/17.2	1724
A 105	88	XX/1	I/17.2	1726

					6^th Sunday after Trinity
A 106	170	XXXIII	I/17.2	1726
A 107	9	I	I/17.2	1732-35

					7^th Sunday after Trinity
A 108	186	XXXVII	I/18	1723
A 109	107	XXIII	I/18	1724
A 110	187	XXXVII	I/18	1726

					8^th Sunday after Trinity
A 111	136	XXVIII	I/18	1723
A 112	178	XXXV	I/18	1724
A 113	45	X	I/18	1726

					9^th Sunday after Trinity
A 114	105	XXIII	I/19	1723
A 115	94	XXII	I/19	1724
A 116	168	XXXIII	I/19	1725

					10^th Sunday after Trinity
A 117	46	X	I/19	1723
A 118	101	XXIII	I/19	1724
A 119	102	XXIII	I/19	1726

					11^th Sunday after Trinity
A 120	199	XLI (inc)	I/20	1714
A 121	179	XXXV	I/20	1723
A 122	113	XXIV	I/20	1724

					12^th Sunday after Trinity
A 123	69a	XVI ?	I/20	1723
A 124	137	XXVIII	I/20	1725
A 125	35	VII	I/20	1726

					13^th Sunday after Trinity
A 126	77	XVIII	I/21	1723
A 127	33	VII	I/21	1724
A 128	164	XXXIII	I/21	1725

					14^th Sunday after Trinity
A 129	25	V/1	I/21	1723
A 130	78	XVIII	I/21	1724
A 131	17	II	I/21	1726

					15^th Sunday after Trinity
A 132	138	XXVIII	I/22	1723
A 133	99	XXII	I/22	1724
A 134	51	XII/2	I/22	1730

					16^th Sunday after Trinity
A 135	161	XXXIII	I/23	1715
A 136	95	XXII	I/23	1723
A 137	8	I	I/23	1724
A 138	27	V/1	I/23	1726

					17^th Sunday after Trinity
A 139	114	XXIV	I/23	1724
A 140	148	XXX	I/23	1723
A 141	47	X	I/23	1726

					18^th Sunday after Trinity
A 142	96	XXII	I/24	1724
A 143	169	XXXIII	I/24	1726

					19^th Sunday after Trinity
A 144	48	X	I/24	1723
A 145	5	I	I/24	1724
A 146	56	XII/2	I/24	1726
A 147	Anh 2	-		1730	Sacred Cantata [fragment]

					20^th Sunday after Trinity
A 148	162	XXXIII	I/25	1715
A 149	180	XXXV	I/25	1724
A 150	49	X	I/25	1726

					21^st Sunday after Trinity
A 151	109	XXIII	I/25	1723
A 152	38	VII	I/25	1724
A 153	98	XXII	I/25	1726
A 154	188	XXXVII	I/25	1728

					22^nd Sunday after Trinity
A 155	89	XX/1	I/26	1723
A 156	115	XXIV	I/26	1724
A 157	55	XII/2	I/26	1726

					23^rd Sunday after Trinity
A 158	163	XXXIII	I/26	1715
A 159	139	XXVIII	I/26	1724
A 160	52	XII/2	I/26	1726

					24^th Sunday after Trinity
A 161	60	XII/2	I/27	1723
A 162	26	V/1	I/27	1724

					25^th Sunday after Trinity
A 163	90	XX/1	I/27	1723
A 164	116	XXIV	I/27	1724

					26^th Sunday after Trinity
A 165	70	XVI	I/27	1723

					27^th Sunday after Trinity
A 166	140	XXVIII	I/27	1731

					Purification
A 167	83	XX/1	I/28.1	1724
A 168	125	XXVI	I/28.1	1725
A 169	82	XX/1	I/28.1	1727
A 170	157	XXXII	I/34	1727	Also B 20
A 171	158	XXXII	I/10	1728-31	Also A 61

					Annunciation
A 172	182	XXXVII	I/8.2	1714	Also A 53
A 173	1	I	I/28.2	1725

					Visitation
A 174	147	XXX	I/28.2	1723
A 175	10	I	I/28.2	1724

					St. John
A 176	167	XXXIII	I/29	1723
A 177	7	I	I/29	1724
A 178	30	V/1	I/29	1738

					St. Michael
A 179	130	XXVI	I/30	1724
A 180	19	II	I/30	1726
A 181	149	XXX	I/30	1728
A 182	deest				Cantata sketch, text & tune unknown, presumably same as A 181

					Reformation Festival
A 183	80	XVIII	I/31	1724
A 184	79	XVIII	I/31	1725
A 185	76	XVIII	I/16	1723	Also A 97

					Unsepcified Occasions
A 186	223	-	-	1707-08?
A 187	117	XXIV	I/34	1728-31
A 188	192	XLI	I/34	1730
A 189	97	XXII	I/34	1734
A 190	[248a]				cantata fragment, text and tune unknown
A 191	100	XXII	I/34	1732-35
A 192	200	-	I/28.1	1742
A 193	1045	XXI/1	I/34	1743-46	Sinfonia [fragment]
A 194	50	X	I/30	1723?
--
Source: Volume 1, Part 1: Vocal Works I (containing the BC numbers A 1 to A 100), Leipzig 1985, ISBN 3-369-00031-8 or Frankfurt/M. 1986, ISBN 3-876-26081-7 Volume 1, Part 2: Vocal Works II (containing the BC numbers A 101 to A 194), Leipzig 1987, ISBN 3-369-00032-6 Compiled by Aryeh Oron & David O. Berger [Concordia Seminary Library, St. Louis, MO, USA] (September 2009)

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