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References: Main Page | Cantatas BWV 1-50 | Cantatas BWV 51-100 | Cantatas BWV 101-150 | Cantatas BWV 151-200 | Cantatas BWV 201-224 | Other Vocal BWV 225-249 | Chorales BWV 250-300 | Chorales BWV 301-350 | Chorales BWV 351-400 | Chorales BWV 401-438 | Geistliche Lieder BWV 439-507 | AMN BWV 508-524 | Vocal Works BWV Anh | BGA | NBA | BC: A | B | C | D | E | F | G | H | Sources
Discussions of BWV Numbering System: Part 1 | Part 2 | Part 3

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 1st Sunday in Advent through the 27th 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 (1st 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 1st 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 1st 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

         

1st 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)

           
         

2nd Sunday in Advent

[A 4]

70a

-

-

1716

Wachet! betet! betet! wachet! (Weimar version) → A 165

           
         

3rd Sunday in Advent

A 5

186a

-

I/1

1717

Ärgre dich, o Seele, nicht (Weimar version) → A 108

           
         

4th 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 7I

248/I

V/2

II/6

1734-1735

Weihnachts-Oratorium , Part I → G 18, G 19

           
         

2nd 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 7II

248/II

V/2

II/6

1734-1735

Weihnachts-Oratorium, Part II → G 18, G 19

           
         

3rd 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 7III

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 7IV

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 7V

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 7VI

248/VI

V/2

II/6

1734-1735

Weihnachts-Oratorium, Part VI → A 190, G 30

           
         

1st 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

           
         

2nd 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

           
         

3rd 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

           
         

4th 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 (1st 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 - 1st 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 - 2nd 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 - 3rd 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 - 1st 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 - 1st 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 1IV

           
         

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

 
           
         

1st Sunday after Trinity

A 94

75

XVIII

I/15

1723

 

A 95

20

II

I/15

1724

 

A 96

39

VII

I/15

1726

 
           
         

2nd Sunday after Trinity

A 97

76

XVIII

I/16

1723

Also A 185

A 98

2

I

I/16

1724

 
           
         

3rd Sunday after Trinity

A 99

21

V/1

I/16

1714

 

A 100

135

XXVIII

I/16

1724

 
           
         

4th 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

 
           
         

5th Sunday after Trinity

A 104

93

XXII

I/17.2

1724

 

A 105

88

XX/1

I/17.2

1726

 
           
         

6th Sunday after Trinity

A 106

170

XXXIII

I/17.2

1726

 

A 107

9

I

I/17.2

1732-35

 
           
         

7th Sunday after Trinity

A 108

186

XXXVII

I/18

1723

 

A 109

107

XXIII

I/18

1724

 

A 110

187

XXXVII

I/18

1726

 
           
         

8th Sunday after Trinity

A 111

136

XXVIII

I/18

1723

 

A 112

178

XXXV

I/18

1724

 

A 113

45

X

I/18

1726

 
           
         

9th Sunday after Trinity

A 114

105

XXIII

I/19

1723

 

A 115

94

XXII

I/19

1724

 

A 116

168

XXXIII

I/19

1725

 
           
         

10th Sunday after Trinity

A 117

46

X

I/19

1723

 

A 118

101

XXIII

I/19

1724

 

A 119

102

XXIII

I/19

1726

 
           
         

11th 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

 
           
         

12th Sunday after Trinity

A 123

69a

XVI ?

I/20

1723

 

A 124

137

XXVIII

I/20

1725

 

A 125

35

VII

I/20

1726

 
           
         

13th Sunday after Trinity

A 126

77

XVIII

I/21

1723

 

A 127

33

VII

I/21

1724

 

A 128

164

XXXIII

I/21

1725

 
           
         

14th 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

 
           
         

15th 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

 
           
         

16th 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

 
           
         

17th Sunday after Trinity

A 139

114

XXIV

I/23

1724

 

A 140

148

XXX

I/23

1723

 

A 141

47

X

I/23

1726

 
           
         

18th Sunday after Trinity

A 142

96

XXII

I/24

1724

 

A 143

169

XXXIII

I/24

1726

 
           
         

19th 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]

           
         

20th Sunday after Trinity

A 148

162

XXXIII

I/25

1715

 

A 149

180

XXXV

I/25

1724

 

A 150

49

X

I/25

1726

 
           
         

21st 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

 
           
         

22nd 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

 
           
         

23rd 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

 
           
         

24th Sunday after Trinity

A 161

60

XII/2

I/27

1723

 

A 162

26

V/1

I/27

1724

 
           
         

25th Sunday after Trinity

A 163

90

XX/1

I/27

1723

 

A 164

116

XXIV

I/27

1724

 
           
         

26th Sunday after Trinity

A 165

70

XVI

I/27

1723

 
           
         

27th 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)

References: Main Page | Cantatas BWV 1-50 | Cantatas BWV 51-100 | Cantatas BWV 101-150 | Cantatas BWV 151-200 | Cantatas BWV 201-224 | Other Vocal BWV 225-249 | Chorales BWV 250-300 | Chorales BWV 301-350 | Chorales BWV 351-400 | Chorales BWV 401-438 | Geistliche Lieder BWV 439-507 | AMN BWV 508-524 | Vocal Works BWV Anh | BGA | NBA | BC: A | B | C | D | E | F | G | H | Sources
Discussions of BWV Numbering System: Part 1 | Part 2 | Part 3

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Last update: ýSeptember 22, 2009 ý15:30:57