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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 F: Chorales and Sacred Songs

Group Description

Work Group F comprises the four-part chorales, arranged alphabetically according to the names of their melodies, together with the chorales and sacred songs for voice and basso continuo, arranged according to the order in which they appear in their principal sources.

Four-Part Chorales

The listing of the four-part chorales attempts to provide not only a complete inventory of all chorale settings (whether transmitted in collections or individually), but also an overview of the entire genre in the broadest sense. The following organizational principles apply:
1. All chorale settings transmitted outside of the vocal compositions of Work Groups A-E are entered with incipits and source identifications.
2. All chorales contained in Work Groups A-E, including settings with obbligato instruments, are listed as cross-references only (with indications of chronology, meter, key, and - where applicable - alternate textual incipits, i. e., titles of chorale settings without text underlay). Musical incipits are not provided, except for those instances in which transposed and altered versions exist.
3. Organ chorales in cantional style from Work Group K have been similarly incorporated into this category, again by means of cross-references.
4. Chorales interpolated into recitatives and arias have not been included here and are recorded only in a special list (p. 1284).
5. The List (Synopsis) presents an alphabetical list of all chorale text incipits (first strophes only; for other strophes cf. the alphabetical index, p.1661ff.):
a) cantus firmi Fl-F213, according to the earliest melody sources;
b) cross-references to additional related texts as they appear in works of J.S. Bach.

References to singly transmitted chorale settings, F l.l - F 213.2, are integrated into this list of chorale titles.

This List (Synopsis) provides a complete index to all melodies in the entire complex of four-part chorales and provides cross-references to all relevant texts.

The numbers F l - F 213 refer only to the cantus firmi employed; individual settings are indicated by supplemental numbers, set off by a period (e.g., F 1.1).

Chorales transmitted siIigly → i. e., outside of Work Groups A-E - appear at the beginning of each series of entries for a particular cantus firmus, e.g., F2.1 = Ach Gott und Herr (BWV 255); F2.2 = Solls ja so sein (Al44/3 = BWV 48/3). The melodic index of the List (Synopsis) thus allows for the ready identification of these chorales.

Settings that are musically identical and differ only in their texts are distinguished by supplemental letters (e.g., F2.2a, F2.2b).

Chorales and Sacred Songs with Basso Continuo

This category consists of all chorale settings, arias, and songs notated in two parts (discant and figured bass), beginning with the repertoire of the two most important collections, from 1725 and 1736; an alphabetical index to the melodies (p. 1286) is also provided for these works. There follow entries for the lost collections, together with cross-references to those settings transmitted in connection with organ chorales.

The Transmission, Origins, and Functions of the Chorales

In the list of works cited in Bach's obituary (Dok III, p. 86), there is no mention of any chorale settings. In 1750, it would have been extremely difficult to survey the repertoire as a whole. Anthologies of selected works were prepared by J.L. Dietel around :1735 (Source R 18; → Z1) and F.W. Marpurg after 1750 (Dok III, No. 697), but the first attempt to gather all of Bach's four-part chorales began only after :1760 with Carl Philipp Emanuel Bach (Dok III, No. 723 and 753-754; → Z3) and was continued after :1771. by Johann Philipp Kirnberger (Dok III, No. 824).

A tendency toward building a large repertoire of chorales and compiling them in collections was already evident during Bach's years in Leipzig. There is some evidence that Bach used earlier chorale settings in newly-composed vocal works (e. g., C 2/2 = F 126.2a; A 77/11 = F 57.la), even though no corresponding "chorale book" has survived (~ F288 and F289). Nevertheless, the anthology of chorales gathered by Bach's pupil Dietel around :1735, and Bach's own participation in the Schemelli-Gesangbuch of :1736 point in the direction of such a compilation. It is possible that Bach himself was planning a printed collection as early as the :1730's, and it is conceivable that there may have been some connection with such similar contemporary projects as those by Christoph Graupner (Neues vermehrtes Darmstädtisches Choral-Buch, 1728) or Georg Philipp Telemann (his "Nearly Universal Protestant-Musical Song-Book, which (1.) Contains a great many old chorales, restored to their original melodies and modes, but at the same time (2.) Includes a great number of variants now in common use; also including (3.) The bass, indicated in such a way that one can play these songs with four voices throughout, to which end (4.) Figures have been added in the most careful manner; this book can be used, moreover, (5.) By both choir and chamber ensembles, and provides, lastly, (6.) More than 2,000 songs with more than 500 melodies," Hamburg 1730). Bach's collections of Choralgesänge published posthumously are most closely related in intent and function to G.P. Telemanns Lieder-Buch, in spite of the fundamental difference that Bach's feature four-part rather than two-part settings and often present several different harmonizations of the same melody.

The chorales notated in two p.nd four parts belong to what is essentially one and the same type of four-part, cantional-style setting, as seen in the following list of corresponding settings (of which F 24l/F l76.l and F2 50/F 47.1 appear in original sources):

F217 =

F214b/F70.1
F233/Fl04.1
F244/F177.1
F271/F114.1

F250 /F47.1
F236/F130.1
F245/Fl8.1
F273/F192.1

F218 /F156.1
F240/F174.1
F253/F173.1
F281/F142.1

F221 /F161.1
F241/F176.1
F255/F75.l
F283/F167.1

In several instances, four-part chorales were developed either in whole or in part from the outer voices of earlier settings found in such collections as the Andachts Zrmbeln by C. Peter, :1.655, the Neu Leipziger Gesangbuch by G. Vopelius, 1682 (→ F 57.1, F 107.1, and F 204.1), the Geist- und Lehrreiches Kirchen- und Hauß-Buch, Dresden 1694 (→ F 177.1), the Musicalische Kirch- und Haus-Ergötzlichkeit by Daniel Vetter, 1713 (→ F 131.1), and even a collection of chorale partitas by Johann Pachelbel from 1683 (F 8.1). In such instances, there may have been some connection with Bach's teaching method, in which chorale harmonization played an important role. Carl Philipp Emanuel Bach, writing in 1775, reported that his father's pupils "had to begin their studies by learning pure four-part thorough bass. He then proceeded to chorales: he would first add the bass himself and have his students devise the tenor and alto parts. Then he would teach them how to construct the bass line themselves... An introduction to chorales is without doubt the best method of learning how to compose, as far as harmony is concerned" (Dok III, p. 289; cf. also Bach Reader, P. 279).

Settings from the Clavier-Büchlein for Anna Magdalena Bach (→ F 214 - F 218) provide concrete evidence that at least some of the chorales transmitted under Bach's name are byproducts of his teaching and as such may incorporate the collaborative efforts of others as well. But it is not at all clear to what extent Bach, his pupils, and especially the editors of his published chorale collections may have altered pre-existsettings. In those cases in which the transmission seems uncertain, the appropriate settings have been entered under Work Group T.

It is impossible to draw strict distinctions between settings conceived for vocal forces and those conceived for instrumental ensembles, given the fact that in most cases we do not know what forces the original settings may have called for. Bass lines conceived for instruments are particularly evident in the Schemelli songs and their corresponding four-part arrangements (see the Synopsis, above), and in other chorales of the same type (e. g., F 89.1 or F 110.1).; The ambitus of the individual parts (bass line descending to D or C: e.g., F 155.1) and the nature of the part-writing often point to a chorale harmonization conceived either solely for a keyboard instrument (e. g., F 129.1 or F 211.1) or intended as an organ accompaniment. The practice of organ accompaniment for congregational chorale singing was widespread in the Thuringian-Saxon region as early as the 17th century and thus can iJe assumed to have been the practice in those locales in which Bach and his pupils lived and worked.

The Hymnological References

Cantus firmi are arranged according to their text incipits (in modernized orthography) and are cited, whenever possible, according to their numbering in J. Zahn's Die Melodien der deutschen evangelischen Kirchi1nlieder (1889-1893; = Z). Citations to the earliest source of any given melody in a Protestant hymnal ordimtrily follow those given by Zahn but do take into account new findings in the field (→ Literature: General a). Melodies that antedate the Reformation or were secular in origin are identified as such, with important melodic variants noted accordingly (e.g., F 44, F 115). The composer of a melody, if known, is named. Full title information for the hymnals and citations to the location of extant exemplars may be found in Das Deutsche Kirchenlied (DKL), Vol. 1, pt. 1: Verzeichnis der Drucke, Kassel, 1975 (= RISM, Series B, Vol. VIII/1).

Attributions for chorale texts written before 1700 follow those given in the text collections by P. WackernageL Das deutsche Kirchenlied von der ältesten Zeit bis zu Anfang des 17 Jahrhunderts (1864-1877; = W) or by A.F.W. Fischer and W. Tümpel Das deutsche evangelische Kirchenlied des 17.Jahrhunderts (1904-1916; = IT). The lack of any comparable collection of 18th-century texts - which Bach used less often - precludes corresponding references for later hymn-verses, in most cases. Citations can nevertheless be provided for some of the more widespread texts that are found in the Kirchenlieder-Lexikon (= KLL).

The historical roots of Bach's chorale settings are reflected in the provenance of the melodies and the texts. Bach's settings, to be sure, exhibit frequent variants in melodic and rhythmic detail from the earliest versions of cantus firm found in hymnals: these differences are due in part to local and regional practices reflected in contemporary hymnals '(e.g., F 9, F 31), in part to the composer's freedom to make such changes. The most important variants within the repertoire of the published hymnals are generally listed in Zahn. For more detailed citations to the various versions of the melodies used by Bach, see the Critical Reports of the NBA.

Of the hymnals in Bach's personal library, only one has survived: a reprint of the first hymnal of the Bohemian Brethren, EJn hubsch new Gesangbuch, Ulm 1538 (DKL 153804), edited in 1531 by Michael Weisse and housed today in the Euing Collection of the Glasgow University Library. The inventory of Bach's estate from 1750 includes no musical works but does cite, among the theological writings (Dok II p. 496), the hymnal Andächtiger Seelen geistliches Brand- und Gantz-Opfer, Leipzig 1697 (8 volumes, without the melodies), edited by Paul Wagner. The present location of Bach's copy, if it has survived. is unknown. Bach's collaboration in Georg Christian Schemelli's anthology, the Musicalisches Gesang-Buch, Leipzig 1736 (DKL 173613) F 219 - F 287, Werkgeschichte), on the other hand, is well documented.

Among the most important hymnals (with music) from Bach's immediate circle are:

Auserlesenes Weinmarisches Gesangbuch, Weimar 1681 (DKL 168108)
Vollständiges Kirchen-Buch, Altenburg 1681 (DKL 168114)
Neu Leipziger Gesangbuch, ed. Gottfried Vopelius, Leipzig 1682 (DKL 168211)
Geist- und Lehr-reiches Kirchen- und Hauß-Buch, Dresden 1694 (DKL 169402)
Lüneburgisches Gesangbuch, 2nd edition, Lüneburg 1695 (DKL 169506), 3rd edition 1702 (DKL 170210)
Neu-vermehrtes ... Meiningisches Gesangbuch, Meiningen 1700 (DKL 170012)
Geist-reiches Gesang-Buch, editor Johann Anastasius Freylinghausen, 1st edition, Halle 1704 (DKL 170404); 8th edition 1714 (DKL 171405)
Neu-auffgelegtes Dreßdnisches Gesang-Buch, Dresden und Leipzig 1707 (DKL 170704)
Musicalische Kirch- und Haus-Ergötzlichkeit, editor Daniel Vetter, part I, Leipzig n. d. (DKL 1709 01), 2nd edition Dresden 1716 (DKL 171608); part II, Leipzig n.d. (DKL 171301)
Hoch-Fürstliches Sachsen-Weissenfelsisches Vollständiges Gesang- und Kirchen-Buch, Weißenfels n. d. (DKL 171202)
Psalmodia Sacia, editor Christian Friedrich Witt, Gotha 1715 (DKL 171509), new edition, Gotha und Leipzig n.d. (DKL 1720 04)
Glauben-schallende und Himmel-steigende Hertzens-Music, Leipzig 1719 (DKL 171912), new edition, Leipzig 1727 (DKL 172707)

J.S. Bach provides the earliest source for a number of melodies: F 41, F 47 (= F 217), F 48, F 70 (= F 214), F 98, F 114 (= F 271), F 146 (= F 259), F 160, F 191, F 198, F 214, F 215, F 216, F 225, F 228, F 229, F 232, F 237, F 239, F 248, F 249, F 260, F 262, F 264, F 265, F 270, F 274, F 277, F 280, F 282, F 285 and F 286. It is possible that Bach may have been the composer of these melodies; yet he is specifically cited in only a single case, F 262 (di S. Bach D[irector]. M[usices] Lips[iensis].) Bach appears to have created the melodies of F 79, F 99, F 172, and F 190 by altering existing melodies.

 

Synopsis - List by Group and BC Number -Work Group F

         

Four-Part Chorales
List of Chorale Melodies and Texts

BC

BWV

BGA

NBA

Year

Title / Comments

         

Ach bleib bei uns, Herr Jesu Christ → F 35

F 1.1

254

XXXIX

   

Ach Gott, erhör' mein Seufzen und Wehklagen

F 2.1

255

XXXIX

   

Ach Gott und Herr

F 3

       

Ach Gott vom Himmel sieh darein

         

Ach Gott, wie manches Herzeleid → F 87

         

Ach Herr, mich armen Sünder → F 92

F 4.1

349

XXXIX

   

Ich dank dir schon durch deinen Sohn

F 4.1a

341

XXXIX

   

Heut ist, o Mensch, ein großer Trauertag

F 5.1

259

XXXIX

   

Ach, was soll ich Sünder machen

F 6

         

F 7.1

406

XXXIX

   

O wie selig seid ihr doch, ihr Frommen

F 8.1

262

XXXIX

   

Alle Menschen müssen sterben

F 9

         

F 10.1

260

XXXIX

   

Allein Gott in der Höh' sei Ehr'

F 11.1

261

XXXIX

   

Allein zu dir, Herr Jesu Christ

F 12.1

263

XXXIX

   

Alles ist an Gottes Segen

F 13.1

264

XXXIX

   

Als der gütige Gott

F 14.1

265

XXXIX

   

Als Jesus Christus in der Nacht

F 15.1

266

XXXIX

   

Als vierzig Tag nach Ostern

F 16

         

F 17.1

267

XXXIX

   

An Wasserflüssen Babylon

F 18.1

415

XXXIX

   

Valet will ich dir geben

F 19.1

268

XXXIX

   

Auf, auf, mein Herz, und du mein ganzer Sinn

F 20

         

F 21.1

269

XXXIX

   

Aus meines Herzens Grunde

F 22

         

F 23.1

339

XXXIX

   

Herr, wie du willt, so schick's mit mir

F 24.1

272

XXXIX

   

Befiehl du deine Wege

F 24.1

273

XXXIX

   

Christ, der du der helle Tag

F 25.1

276

XXXIX

   

Christ ist erstanden

F 26.1

277

XXXIX

   

Christ lag in Todesbanden

F 26.2

278

XXXIX

   

Christ lag in Todesbanden

F 27.1

274

XXXIX

   

Christe, der du bist Tag und Licht

F 28.1

275

     

Christe, du Beistand deiner Kreuzgemeinde

F 29

         

F 30.1

281

XXXIX

   

Christus, der is mein Leben

F 30.2

282

XXXIX

   

Christus, der is mein Leben

F 31.1

283

XXXIX

   

Christus, der uns selig macht

F 32.1

284

XXXIX

   

Christus, ist erstanden, hat überwunden

F 33

         

F 34.1

285

XXXIX

   

Da der Herr Christ zu Tische sass

F 35.1

253

XXXIX

   

Ach bleib bei uns, Herr Jesu Christ

F 35.2

414

XXXIX

   

Uns ist ein Kindlein heut gebor'n

F 36.1

288

XXXIX

   

Das alte Jahr vergangen ist

F 36.2

289

XXXIX

   

Das alte Jahr vergangen ist

F 37

         

F 38.1

290

XXXIX

   

Das walt' Gott Vater und Gott Sohn

F 39.1

291

XXXIX

   

Das walt' mein Gott, Vater, Sohn und heiliger Geist

F 40.1

292

XXXIX

   

Den Vater dort oben

F 41

         

F 42.1

293

XXXIX

   

Der du bist drei in Einigkeit

F 43.1

294

XXXIX

   

Der Tag, der ist so freudenreich

F 44.1

296

XXXIX

   

Die Nacht ist kommen

F 45.2b

398

XXXIX

   

O Gott, du frommer Gott

F 46.1

298

XXXIX

   

Dies sind die heil'gen zehn Gebot'

F 47.1

299

XXXIX

   

Dir, dir, Jehova, will ich singen

F 48

         

F 49

         

F 50.1

301

XXXIX

   

Du, o schönes Weltgebäude

F 51.1

300

XXXIX

   

Du grosser Schmerzensmann

F 52

         

F 53.1

302

XXXIX

   

Ein' feste Burg ist unser Gott

F 53.2

303

XXXIX

   

Ein' feste Burg ist unser Gott

F 53.2

303

XXXIX

   

Ein' feste Burg ist unser Gott

F 54.1

304

XXXIX

   

Eins ist Not! ach Herr, dies Eine

F 55.1

305

XXXIX

   

Erbarm' dich mein, o Herre gott

F 56

         

F 57

         

F 58.1

306

XXXIX

   

Erstanden ist der heil'ge Christ

F 59

         

F 60

         

F 61.1

402

XXXIX

   

O Mensch, bewein dein' Sünde groß

F 62.1

308

XXXIX

   

Es spricht der Unweisen Mund wohl

F 63.1

309

XXXIX

   

Es stehn vor Gottes Throne

F 64.1

310

XXXIX

   

Es wird schier der letzte Tag herkommen

F 65.1

280

XXXIX

   

Christ, unser Herr, zum Jordan kam

F 66.1

311

XXXIX

   

Es woll' uns Gott genädig sein

F 66.2

312

XXXIX

   

Es woll' uns Gott genädig sein

F 67

         

F 68.1

313

XXXIX

   

Für Freuden lasst uns springen

F 69.1

314

XXXIX

   

Gelobet seist du, Jesu Christ

F 70.1

315

XXXIX

   

Gib dich zufrieden und sei stille

F 71.1

316

XXXIX

   

Gott, der du selber bist das Licht

F 72.1

317

XXXIX

   

Gott, der Vater, wohn' uns bei

F 73

         

F 74.1

319

XXXIX

   

Gott hat das Evangelium

F 75.1

320

XXXIX

   

Gott lebet noch

F 76.1

322

XXXIX

   

Gott sei gelobet und gebenedeiet

F 77.1

321

XXXIX

   

Gotlob, es geht nunmehr zu Ende

F 78

         

F 79.1

325

XXXIX

   

Heilig, heilig, helig

F 80

         

F 81

         

F 82.1

372

XXXIX

   

Laß, o Herr, dein Ohr sich neigen

F 83.1

328

XXXIX

   

Herr, Gott, dich loben wir

F 84.1

330

XXXIX

   

Herr, ich habe missgehandelt

F 84.2

331

XXXIX

   

Herr, ich habe missgehandelt

F 85.1

332

XXXIX

   

Herr Jesu Christe, dich zu uns wend

F 86.1

333

XXXIX

   

Herr Jesu Christ, du hast bereit't

F 87

         

F 88.1

336

XXXIX

   

Herr Jesu Christ, wahr'r Mensch und Gott

F 89.1

337

XXXIX

   

Herr, nun lass in Frieden

F 90.1

338

XXXIX

   

Herr, straf mich nicht in deinem Zorn

F 91.1

340

XXXIX

   

Herzlich lieb hab ich dich, o Herr

F 92.1

270

XXXIX

   

Befiehl du deine Wege

F 92.2

271

XXXIX

   

Befiehl du deine Wege

F 93

         

F 94.1b

408

XXXIX

   

Schaut, ihr Sünder! Ihr macht mir große Pein

F 95.1

342

XXXIX

   

Heut triumphieret Gottes Sohn

F 96.1

343

XXXIX

   

Hilf, Gott, laß mir's gelingen

F 97.1

344

XXXIX

   

Hilf, Herr Jesu, laß gelingen

F 98

         

F 99.1

345

XXXIX

   

Ich bin ja, Herr, in deiner Macht

F 100.1

346

XXXIX

   

Ich dank dir Gott für alle Wohltat

F 101.1

347

XXXIX

   

Ich dank dir, lieber Herre

F 101.2

348

XXXIX

   

Ich dank dir, lieber Herre

F 102.1

351

XXXIX

   

Ich hab mein Sach Gott heimgestellt

F 103

         

F 104.1

366

XXXIX

   

Ihr Gestirn, ihr hohen Lüfte

F 105.1

326

XXXIX

   

Herr Gott, dich loben alle wir

F 105.2

327

XXXIX

   

Für deinen Thron tret' ich hiermit

F 106.1

387

XXXIX

   

Nun freut euch, Gottes Kinder all

F 107.1

367

XXXIX

   

In allen meinen Taten

F 108

         

F 109.1

436

XXXIX

   

Wie schön leuchtet der Morgenstern

F 110.1

368

XXXIX

   

In dulci jubilo

F 111

         

F 112.1

355

XXXIX

   

Jesu, der du selbsten wohl

F 113.1

356

XXXIX

   

Jesu, du mein liebstes Leben

F 114.1

357

XXXIX

   

Jesu, Jesu, du bist mein

F 115

         

F 116.1

358

XXXIX

   

Jesu, meine Freude

F 117.1

361

XXXIX

   

Jesu, meines Herzens Freud

F 118.1

362

XXXIX

   

Jesu, nun sei gepreiset

F 119.1

287

XXXIX

   

Dank sei Gott in der Höhe

F 120.1

364

XXXIX

   

Jesus Christus, unser Heiland

F 121.1

363

XXXIX

   

Jesus Christus, unser Heiland

F 122.1

379

XXXIX

   

Meinen Jesum laß ich nicht

F 123.1

365

XXXIX

   

Jesus, meine Zuversicht

F 124.1

369

XXXIX

   

Keinen hat Gott verlassen

F 125.1

370

XXXIX

   

Komm, Gott Schöpfer, heiliger Geist

F 126

         

F 127.1

375

XXXIX

   

Lobt Gott, ihr Christen, allzugleich

F 128.1

376

XXXIX

   

Lobt Gott, ihr Christen, allzugleich

F 129.1

371

XXXIX

   

Kyrie, Gott Vater in Ewigkeit

F 130.1

413

XXXIX

   

Sollt ich meinem Gott nicht singen

F 131

         

F 132

         

F 133.1

373

XXXIX

   

Liebster Jesu, wir sind hier

F 134.1

329

XXXIX

   

Herr, ich denk' an jene Zeit

F 135.1

374

XXXIX

   

Lobet den Herren

F 136

         

F 137.1

377

XXXIX

   

Mach's mit mir, Gott, nach deiner Güt

F 138.1

378

XXXIX

   

Mein' Augen schließ ich jetzt

F 139.1

350

XXXIX

   

Ich danke dir, o Gott, in deinem Throne

F 140.1

323

XXXIX

   

Gott sei uns gnädig

F 140.1

324

XXXIX

   

Meine Seele erhebet den Herrn

F 141.1

380

XXXIX

   

Meinen Jesum laß ich nicht

F 142.1

381

XXXIX

   

Meines Lebens letzte Zeit

F 143.1

318

XXXIX

   

Gottes Sohn ist kommen

F 144.1

382

XXXIX

   

Mit Fried und Freud ich fahr dahin

F 145.1

383

XXXIX

   

Mitten wir im Leben sind

F 146.1

384

XXXIX

   

Nicht so traurig, nicht so sehr

F 147.1

385

XXXIX

   

Nun bitten wir den heiligen Geist

F 148.1

386

XXXIX

   

Nun danket alle Gott

F 149.1

388

XXXIX

   

Nun freut euch, lieben Christeng'mein

F 150.1

307

XXXIX

   

Es ist gewisslich an der Zeit

F 151

         

F 152

         

F 153.1

389

XXXIX

   

Nun lob, mein Seel, den Herren

F 153.2

390

XXXIX

   

Nun lob, mein Seel, den Herren

F 154.1

391

XXXIX

   

Nun preiset alle Gottes Barmherzigkeit

F 155.1

396

XXXIX

   

Nun sich der Tag geendet hat

F 156.1

397

XXXIX

   

O Ewigkeit, du Donnerwort

F 157.1

399

XXXIX

   

O Gott, du frommer Gott

F 158

         

F 159

         

F 160.1

400

XXXIX

   

O Herzensangst, o Bangigkeit und Zagen

F 161.1

297

XXXIX

   

Die Sonn' hat sich mit ihrem Glanz

F 162.1

401

XXXIX

   

O Lamm Gottes unschuldig

F 163.1

403

XXXIX

   

O Mensch, schau Jesum Christum an

F 164

         

F 165.1

404

XXXIX

   

O Traurigkeit, o Herzeleid

F 166.1

392

XXXIX

   

Nun ruhen alle Wälder

F 166.2

393

XXXIX

   

O Welt, sieh hier dein Leben

F 166.5

394

XXXIX

   

O Welt, sieh hier dein Leben

F 166.9

395

XXXIX

   

O Welt, sieh hier dein Leben

F 167.1

405

XXXIX

   

O Mensch, schau Jesum Christum an

F 168.1

407

XXXIX

   

O wir armen Sünder

F 169

         

F 170.1

335

XXXIX

   

Herr Jesu Christ, mein's Lebens Licht

F 171

         

F 172

         

F 173.1

409

XXXIX

   

Seelenbräutigam, Jesu, Gottes Lamm

F 174.1

410

XXXIX

   

Sei gegrüßet, Jesu gütig

F 175.1

411

XXXIX

   

Singt dem Herrn ein neues Lied

F 176

         

F 177.1

412

XXXIX

   

So gibst du nun, mein Jesu, gute Nacht

F 178.1

295

XXXIX

   

Des heil'gen Geistes recihe Gnad'

F 179

         

F 180

         

F 181.4a

416

XXXIX

   

Vater unser im Himmelreich

F 182

         

F 183.1

286

XXXIX

   

Danket dem Herren

F 184

         

F 185.1

417

XXXIX

   

Von Gott will ich nicht lassen

F 185.2

418

XXXIX

   

Von Gott will ich nicht lassen

F 185.3

419

XXXIX

   

Von Gott will ich nicht lassen

F 186

         

F 187.1

352

XXXIX

   

Jesu, der du meine Seele

F 187.2

353

XXXIX

   

Jesu, der du meine Seele

F 187.3

354

XXXIX

   

Jesu, der du meine Seele

F 188

         

F 189.1

420

XXXIX

   

Warum betrübst du dich, mein Herz

F 189.2

421

XXXIX

   

Warum betrübst du dich, mein Herz

F 190.1

422

XXXIX

   

Warum sollt ich mich denn grämen

F 191.1

423

XXXIX

   

Was betrübst du dich, mein Herze

F 192.1

424

XXXIX

   

Was bist du doch, o Seele, so betrübet

F 193

         

F 194

         

F 195.1

425

XXXIX

   

Was willst du dich, o meine Seele, kränken

F 196

         

F 197.1

426

XXXIX

   

Weltlich Ehr und zeitlich Gut

F 187

         

F 199

         

F 200.1

427

XXXIX

   

Wenn ich in Anund Not mein' Augen heb empor

F 201.1

428

XXXIX

   

Wenn mein Stündlein vorhanden ist

F 201.2

429

XXXIX

   

Wenn mein Stündlein vorhanden ist

F 201.3

430

XXXIX

   

Wenn mein Stündlein vorhanden ist

F 202.1

334

XXXIX

   

Herr Jesu Christ, du höchstes Gut

F 203.1

431

XXXIX

   

Wenn wir in höchsten Nöten sein

F 203.2

432

XXXIX

   

Wenn wir in höchsten Nöten sein

F 204.1

433

XXXIX

   

Wer Gott vertraut, hat wohlgebaut

F 205.1

434

XXXIX

   

Wer nur den lieben Gott läßt walten

F 206.1

359

XXXIX

   

Jesu, meiner Seelen Wonne

F 206.2

360

XXXIX

   

Jesu, meiner Freuden Freude

F 207.1

435

XXXIX

   

Wie bist du Seele in mir so gar betrübt

F 208

         

F 209

         

F 210

         

F 211.1

437

XXXIX

   

Wir glauben all an einen Gott

F 212.1

256

XXXIX

   

Ach lieben Christen, seid getrost

F 212.2

257

XXXIX

   

Wär Gott nicht mit uns diese Zeit

F 212.3

258

XXXIX

   

Wo Gott der Herr nicht bei uns hält

F 213.1

438

XXXIX

   

Wo Gott zum Haus nicht gibt sein' Gunst

           
         

Four-Part Chorales with Obbligato Instruments
(* interludes between chorale lines)

BC

BWV

BGA

NBA

Year

Title / Comments

           
         

Chorales from Zweiten Clavierbüchlein für Anna Maagdalena Bach

BC

BWV

BGA

NBA

Year

Title / Comments

         

→ Work Group S

F 214a

511

V/4

   

Gib dich zufrieden

F 214b

512

V/4

   

Gib dich zufrieden

F 215

516

V/4

   

Warum Betrübst du dich

F 216

514

V/4

   

Schaffs mit mir, Gott

F 217

452

V/4

   

Dir, dir Jehovah, will ich singen
Also F 250

F 218

513

V/4

   

O Ewigkeit, du Donnerwort

           
         

Chorales and Sacred Songs from Musicalischen Gesangbuch von Georg Christian Schemelli

BC

BWV

BGA

NBA

Year

Title / Comments

F 219

451

III/2

   

Die goldne Sonne, voll Freud' und Wonne

F 220

446

III/2

   

Der lieben Sonnen Licht und pracht

F 221

447

III/2

   

Der Tag ist hin, die Sonne gehet nieder

F 222

448

III/2

   

Der Tag mit seinem Lichte

F 223

463

III/3

   

Herr, nicht schicke deine Rache

F 224

507

III/2

   

Wo ist mein Schäflein, das ich liebe

F 225

453

III/3

   

Eins ist Not! ach Herr, dies Eine

F 226

472

III/2

   

Jesu, meines Glaubens Zier

F 227

486

III/2

   

Mein Jesu, dem die Seraphinen

F 228

471

III/3

   

Jesu, deine Liebeswunden

F 229

440

III/2

   

Auf, auf! die rechte Zeit ist hier

F 230

454

III/3

   

Ermuntre dich, mein schwacher Geist

F 231

465

III/2

   

Ich freue mich in dir

F 232

         

F 233

         

F 234

493

III/2

   

O Jesulein Süss, o Jesulein mild

F 235

450

III/2

   

Die bittre Leidenszeit beginnet abermal

F 236

481

III/2

   

Lasset uns mit Jesus ziehen

F 237

487

III/3

   

Mein Jesu! was für Seelenweh

F 238

491

III/2

   

O du Liebe meine Liebe

F 239

498

III/3

   

Selig, wer an Jesum denkt

F 240

499

III/2

   

Sei gegrüsset, Jesu gütig

F 241

500

III/3

   

So gehst du nun, mein Jesu, hin

F 242

444

III/2

   

Brich entzwei, mein armes Herze

F 243

458

III/2

   

Es ist vollbracht! vergiss ja nicht

F 244

501

III/2

   

So gibst du nun, mein Jesu, gute Nacht

F 245

441

III/2

   

Auf! auf! mein Herz, mit Freuden

F 246

475

III/2

   

Jesus, unser Trost und Leben

F 247

445

III/3

   

Brunnquell aller Güter

F 248

462

III/2

   

Gott, wie gross ist deine Güte

F 249

449

III/3

   

Dich bet'ich an, mein höchster Gott

F 250

452

III/3

   

Dir, dir Jehovah, will ich singen
Also F 217

F 251

474

III/2

   

Jesus ist das schönste Licht

F 252

469

III/2

   

Ich steh' an deiner Krippen hier

F 252

482

III/2

   

Liebes Herz, bedenke doch

F 253

476

III/3

   

Ihr Gestirn', ihr hohen Lüfte

F 253

496

III/3

   

Seelenbräutigam, Jesu, Gottes Lamm!

F 254

504

III/2

   

Vergiss mein nicht, dass ich dein nicht

F 255

461

III/2

   

Gott lebet noch; Seele, was verzagst du doch?

F 256

459

III/2

   

Es kostet viel, ein Christ zu sein

F 257

442

III/2

   

Beglückter Stand getreuer Seelen

F 258

456

III/2

   

Es glänzet der Christen

F 259

489

III/2

   

Nicht so traurig, nicht so sehr

F 260

494

III/2

   

O liebe Selle, zieh' die Sinnen

F 261

455

III/2

   

Erwürgtes Lamm, das die verwahrten Siegel

F 262

505

III/2

   

Vergiss mein nicht, vergiss mein nicht

F 263

460

III/2

   

Gieb dich zufrieden und sei stille

F 264

466

III/2

   

Ich halte treulich still und liebe

F 265

443

III/3

   

Beschränkt, ihr Weisen dieser Welt

F 266

473

III/2

   

Jesu, meines Herzens Freud

F 267

490

III/2

   

Nur mein Jesus ist mein Leben

F 268

497

III/2

   

Seelenweide, meine Freude

F 269

467

III/2

   

Ich lass' dich nicht

F 270

468

III/2

   

Ich liebe Jesum alle Stund'

F 271

470

III/2

   

Jesu, Jesu, du bist mein

F 272

485

III/3

   

Liebster Immanuel, Herzog der Frommen

F 273

506

III/2

   

Was bist du doch, o Seele, so betrübet

F 274

439

III/2

   

Ach, dass nicht die letzte Stunde

F 275

457

III/2

   

Es ist nun aus mit meinem Leben

F 276

464

III/3

   

Ich bin ja, Herr, in deiner Macht

F 277

478

III/2

   

Komm, süsser Tod, komm, sel'ge Ruh!

F 278

477

III/2

   

Kein Stündlein geht dahin

F 279

483

III/2

   

Liebster Gott, wann werd' ich sterben?

F 280

484

III/2

   

Liebster Herr Jesu! wo bleibest du so lange?

F 281

488

III/3

   

Meines Lebens letzte Zeit

F 282

492

III/2

   

O finstre Nacht

F 283

495

III/2

   

O wie selig seid ihr doch, ihr Frommen

F 284

502

III/2

   

So wünsch' ich mir zu guter Letzt

F 285

479

III/3

   

Kommt, Seelen, dieser Tag

F 286

480

III/3

   

Kommt wieder aus der finstern Gruft

F 287

503

III/3

   

Steh' ich bei meinem Gott

           

F214-F287

       

Alphabetical List of Melodies

BC

BWV

BGA

NBA

Year

Title / Comments

           
           
           
           
           
           
           
           
           
           

--

Source: Volume 1, Part 4: Vocal Works IV (contains the works of groups E, F, G and H),
Leipzig 1989, ISBN 3-369-00051-2 or Frankfurt / M. 1989, ISBN 3-876-26084-1, pp 1270-1274, 1276-1287
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 19, 2009 ý16:32:15