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William L. Hoffman wrote (April 24, 2024):
The final phase of Bach's first church year cycle in 1724 began to embrace a trilogy of three events with distinctive Johannine theology: the Passion oratorio at the Leipzig Good Friday vespers concluding Holy Week; the three-day Easter Feast embracing the Resurrection, Walk to Emmaus, and the Upper Room, as well as the first two Sundays after Easter, Quasimodogeniti (BCW) and Misericordias Domini (BCW); and the Johannine Jesus Farewell Discourse to His Disciples involving eight services from Jubilate Sunday to Trinity Sunday (BCW), omitting the feast of the Ascension (BCW. Eric Chafe's monograph, J. S. Bach's Johannine Theology: The St. John Passion and the Cantatas for Spring 1725,1 covers the music of the Christological period in Bach's first cycle of 1724, as well as in 1725, involving 14 extant liturgical works (BWV 245.2, 249.3, 6, 42, 85; 103, 108, 87, 128; 183, 74, 68, 175, 176), the last nine being a cantata mini-series commissioned in 1724 for Leipzig poetess Christiane Mariane von Ziegler (BCW) to texts of John's gospel, including the Chapter 16 Jesus Farewell Discourse to His Disciples. Lacking was an unknown cantata for Easter Tuesday (possibly Cantata 158 or repeat of chorale Cantata 4). Another mini-cycle was the Easter season cantatas in 1724-1725 with a special movement structure (see below, paragraph beginning "In 1724, Bach had as back-up texts . . . ."
Easter-Pentecost 1724
In his compositions, particularly the long and complex St. John Passion, BWV 245.1, Bach utilized a variety of techniques and resources beyond the traditional scope of an isolated study, "considering its meaning from a variety of musical and historical standpoints," says its description in footnote 1. Chafe uses "a multi-layered approach to religion in Bach's compositional process,"focusing on "two aspects of Bach's theology: first, the specific features of Johannine theology, which contrast with the more narrative approach found in the Synoptic Gospels (Matthew, Mark, Luke); and second, contemporary homiletic and devotional writings - material that is not otherwise easily accessible, and less so in English translation. Bach's non-synoptic St. John Passion emphasizes the positive concept of the classic Christus Victor ransom theory of atonement, as contrasted with the synoptical satisfaction theory that Jesus' sacrifice satisfies the Father's requirement in order to free mankind from death. Thus Christ on earth is both, simultaneously, fully God and fully man, as espoused by Martin Luther in his Theology of the Cross with divine revelation, in contrast to the human Theology of Glory, where Jesus is punished by man, and God's demand or justice is fulfilled. Bach’s original choice to use John’s non-synoptic version of the Passion in 1724 involved three factors. Lutheran tradition of the readings of the four gospel accounts during Holy Week prescribed John Chapters 18 and 19 to be read on Good Friday. John’s Passion account is the shortest, requiring the least musical treatment and with Matthew is the most-often treated musically in Protestant Germany. In contrast to the three synoptic readings from Matthew, Mark, and Luke, John’s Lutheran theological emphasis on Christ’s sacrifice and death was the Christus Victor concept of atonement rather than the Anselm satisfaction concept. During the quarter century following its premiere during the Good Friday vespers, this dramatic, gospel-driven Passion oratorio, underwent significant changes in its five versions.
Chorales in Passions, Good Friday Vespers
The initial almost-totally John's Passion gospel version of 1724 in Chapters 18 and 19, has two additional brief, dramatic synoptic gospel citations: Peter weeping bitterly following his denial as a disciple of Jesus (Mt. 26:75) and the rending of the veil of the temple at the earthquake following Jesus' death (Mt. 27:51-52). Besides the compatibility with the chorale cantata cycle, Bach chose chorales for other reasons. Chorales played a central role in Bach’s sacred music, including the extensive use of plain chorales in his Passions (10 in John, 12 in Matthew and 16 in Mark). Chorales also are used in lyrical choruses and interpolated into arias in the St. John and St. Matthew Passions as well as chorale tropes in recitative movements in nine Cycle II chorale cantatas, mostly during early-middle Trinity Time . Further, The Good Friday Passion vesper service order is vested with Passion chorales:
Ancient Passion hymn Da Jesus an dem Kreuze stund ("There Jesus on the cross hung");
Part 1 of the Passion;
Hymn O Lamm Gottes unschuldig ("O Lamb of God, guiltless"), the text being the metrical version of Agnus Dei (Lamb of God) written by Nikolaus Decius (1531);
Pulpit hymn Herr Jesus Christ, dich zu uns wend ("Lord Jesus Christ, Thee to us turn around");
Sermon;
Part 2 of the Passion;
Motet such as Jacob Gallus' Ecce quomodo moritur justus ("Behold how dies the righteous");
Passion Collect intoned;
Rinhart's hymn Nun danket alle Gott ("Now thank we all Our God"); Blessing (Benediction).
Easter Season Cantata Adjustments, 1724-25
Bach intended to provide a new, synoptic Passion oratorio in 1725 but lacked even an acceptable text draft that included madrigalian interpretive texts for the choruses, arias, and ariosi, as well as the appropriate Passion chorales, built around the gospel text. The ever-resourceful, flexible and imaginative Bach conceived a tripartite grand-design within the context of a Johannine drama that he had outlined in 1724 and would be able to fulfill in 1725 when he added two additional, existing Passion choruses and three newly-composed arias with "satisfaction"-type texts in the St. John Passion, BWV 245.2, second version. At the same time in 1725, Bach was able to integrate the new St. John Passion into the context of his chorale cantata cycle while creating an Easter Oratorio in the Italian musical style with a text of Picander (their first actual collaboration), and completing the nine Johannine cantatas from Jubilate (3rd Sunday after Easter) to the Trinity Sunday Festival (BWV 103*, 108*, 87*, 128, 183*, 74*, 68, 175, 176) with five on the farewell discourse (chapters 16, and 14, in asterisk*). The first two Sundays after Easter also used the gospel of John, Quasimodogeniti (BCW, John 20:19-31, Christ appears to the Twelve, BCW which also was the gospel in Bach's day for Easter Tuesday, https://bach-cantatas.com/Read/Easter-Tuesday.htm), and Misericordias (John 10:11-16, I am the Good Shepherd, BCW).
Easter Season Reperformances, Parodies
Bach's work plan for Easter-Pentecost 1724 was to compose mostly new works, except for reperformances at Jubilate (3rd Sunday after Easter (BCW) with Cantata 12, "Weinen, Klagen, Sorgen, Zagen" (Weeping, wailing, grieving, fearing, Z. Philip Ambrose trans; BCW), and Pentecost Sunday double bill (BCW), Cantatas 172, "Erschallet, ihr Lieder, erklinget, ihr Saiten!" (Resound now, ye lyrics, ring out now, ye lyres!, Ambrose trans.; BCW), and Cantata 59, "Wer mich liebet, der wird mein Wort halten [I]" (He who loves me will keep my commandments, Ambrose trans.; BCW), and three parodies (new text underlay) from Cöthen vocal serenades for the last three feast days: 1. Pentecost Monday(BCW), Cantata 173, "Erhöhtes Fleisch und Blut" (Exalted flesh and blood, Ambrose trans.; BCW); 2. Pentecost Tuesday (BCW, "Erwünschtes Freudenlicht" (O welcome light of joy," Ambrose trans.; BCW.); and 3. Trinity Sunday double bill (BCW), Cantata 194, "Höchsterwünschtes Freudenfest" (O most lovely feast of joy, Ambrose trans.; BCW), and repeat Cantata 165, "O heilges Geist und Wasserbad" (O Holy Spirit's water bath, Ambrose trans.; BCW).
In 1724, Bach had as back-up texts for: 1. Easter Monday chorus Cantata 6, 2 "Bleib bei uns, denn es will Abend werden" (Bide with us, for it will soon be evening, Lk. 24:29, Ambrose trans.; BCW), 2. Easter Tuesday, possibly pasticcio solo Cantata 158, "Der Friede sei mit dir" (May peace now be with thee, Luke 24:36b, Ambrose trans.; BCW; possibly Picander text; 3. Quasimodogeniti (1st Sunday after Easter), chorus Cantata 42, "Am Abend aber desselbigen Sabbatas" (The evening, though, of the very same Sabbath, Jn. 20:19, Ambrose trans.; https://bach-cantatas.com/BWV42-D5.htm), parody of Cöthen vocal serenade (Hunold-Menantes text) BWV 66a, “Der Himmel dacht' auf Anhalts Ruhm und Glück” (Since heaven cared for Anhalt's fame and bliss, Ambrose trans.; BCW; 4. Misericordias (2nd Sunday after Easter), solo Cantata 85, "Ich bin ein guter Hirt" (I am a shepherd true, Jn. 10:12, Ambrose trans.; BCW. Cantata 85 "is the third of three cantatas on consecutive feast days (the others are BWV 6 and 42) that form a coherent sequence, each a fresh response to the increasing anxiety of the disciples, then and now, at life in the world without Jesus’ physical presence. All three feature Johannine themes in contemporary texts, possibly by a single author, compiled the year before and intended by Bach for his first Leipzig Jahrgang of 1723/4. This had to be put on hold, perhaps as a result of the colossal effort which went into the completion of the St John Passion for Good Friday 1724, obliging him to turn to pre-existing material for some of the [feast day] cantatas in that post-Resurrection season. In his notes in Figure I.3 (p. 46) The Passion and cantata performances of spring 1725, Chafe says that all three Cantatas 6, 42, and 85 were "new: text possibly written in 1724." The Johannine cantatas for Cantate to Exaudi Sundays and Trinityfest in 1724 involve four new works: Cantate, Cantata 166, "Wo gehest du hin?" (Whither goest thou?, Jn 16:5, Ambrose trans.; BCW.); Rogate, Cantata 86, "Wahrlich, wahrlich, ich sage euch" (Truly, truly, I say to you, Jn. 16:23, Ambrose trans.; BCW); Ascension, Cantata 37, "Wer da gläubet und getauft wird" (Who believeth and is baptized, Mk. 16:16; Ambrose trans.; BCW); Exaudi, Cantata 44, "Sie werden euch in den Bann tun (I)" (In banishment they will cast you, Jn. 16:2, Ambrose trans.; BCW). A mini-cycle is found using Alfred Durr's Structure C (usually 6 movements) biblical text-aria-chorale-recitative aria-chorale; BWV 144, 166, 86, 37, 44 for Septuagesima, Cantate Sunday (Easter 4), Rogate Sunday (Easter 5), Ascension, Exaudi (Easter 6). The C structure Cantatas BWV 37, 44, 86, and 166 as well as Cantatas 67 (B), 75 and 76 (2 parts), 81(solo Epiphany 4), 104 (A), 154 (solo Epiphany 1), and 179 (A), are “hypothetically” attributed to Weiss, says Dürr (Ibid.: 27f). Durr then suggests “Bach compositions that belong to this group [based on form] are divided between two cycles”: Cycle 1, Septugesima (BWV 144, C), Purification (Anh. 199 double) and Easter 4 (Cantate) to Easter 6 (Exaudi), BWV 166 (solo), 86 (C), 37 (C), and 44 (C) and Cycle 2, Easter Monday to Second Sunday after Easter (Misericordias Domini), and Reformation Festival, BWV 6 (C), 42 (solo), 85 (C), and 79 (C).
Today's Three-Year Lectionary for Easter Season
Beyond Bach's one-year lectionary (Word to Worship), Wikipedia for the Easter Season from the First Sunday after Easter (Quasimodogeniti) to Sunday after Ascension (Exaudi) offers a variety of pieces for the services, Easter hymns, and cantatas by Bach colleagues Wikipedia. Today's 30-year Revised Common lectionary offers a variety of Bach works suitable for various occasions, according to John S. Setterlund.3 It should be noted that this lectionary does not have works for Easter Tuesday or the 1st Sunday after Easter (see the Easter season of this year's Year B (primarily from Mark's gospel) since both services cover the same event, Jesus appears before his disciples in the upper room in all four gospels (Matthew 18:18, Mark 16:14, Luke 24:36-43, and John 20:19-23). The one-year lectionary as it exists today (Wod to Worship) also has a service for Easter Wednesday (3 April 2024)4 with the lectionary readings, including the gospel, John 21:1-14, Jesus Appears to Seven Disciples, but no service for the 1st Sunday after Easter. The three-year lectionary lists one special gospel reading, Matthew 28:9-15a nrsv (Bible Gateway) Jesus sends his disciples forth and The Report of the Guard. Recommended Bach Easter Tuesday chorus Cantata 134.2, "Ein Herz, das seinen Jesum lebend weiß" (A heart which doth its Jesus clearly know, Ambrose trans.; BCW), alternate St. Michael's chorus Cantata 50, "Nun ist das Heil und die Kraft" (Now is the health and the strength, Rev. 12:10 [altered]; BCW.
Sundays after Easter
For the Second Sunday after Easter (Misericordias, "tender mercies"): Year B, 7 April 2024 (readings Lectionary Library), gospel John 20:19-31 (Upper Room with Thomas, Lectionay Library), favored is solo Quasimdogeniti solo Cantata 42, "Am Abend aber desselbigen Sabbatas" (The evening, though, of the very same Sabbath, Jn. 20:19; BCW); and alternate pasticcio solo Cantata 158, "Der Friede sei mit dir" (May peace now be with thee, Luke 24:36b, Ambrose trans.; BCW. Year C, 27 April 2025 (readings Lectionary Library), gospel John 20:19-31 (Upper Room with Thomas, Lectionary Library) favored St. Michael's chorus Cantata 149, "Man singet mit Freuden vom Sieg" (They sing now of triumph with joy, Ps. 118:15-16; BCW), alternate Cantata 42 (see above). Year A, 12 April 2026 (readings Lectionary Library), gospel John 20:19-31 (Upper Room with Thomas, Lectionary Library), favored Quasimodogeniti (1st Sunday after Easter, "like new-born babes) chorus Cantata 67, "Halt im Gedächtnis Jesum Christ" (Hold in remembrance Jesus Christ, 2 Tim. 2:8; 3b; BCW); alternate is Cantata 134 (see above).
For the Third Sunday after Easter (Jubilate, "Make a joyful noise" Ps. 66:1): Year B, 14 April 2024 (readings, Lectionary Library), gospel Luke 24:36b-48 (Upper Room, Lectionary Library), favored is Cantata 134, alternate Cantata 67 (see above). Year C, 4 May 2025 (readings, Lectionary Library), gospel John 21:1-19 (Jesus at Sea of Tiberiuus, fish-catch miracle, Lectionary Library), favored is Trinity 5 chorale chorus Cantata 93, "Wer nur den lieben Gott läßt walten" (The man who leaves to God all power, Ambrose trans.; BCW), alternate Cantata 6 (see above). Year A, 19 Aril 2026 (readings, Lectionary Library), gospel Luke 24:13-35, Walk to Emmaus and Upper Room, Lectionary Library), favored is Cantata 6 (see above), alternate Cantata 66 (see above).
For the Fourth Sunday after Easter (Kantate, Sing to the Lord Ps.98:1): Year B, 21 April 2024 (readings, Lectionary Library), gospel John 10:11-18 (I am the Good Shepherd, Lectionary Library), Cantata 85 (see above), alternate Cantata 184 (see above). Year C, 11 May 2025 (readings, Lectionary Library), gospel John 10:22-30 Jesus is rejected (Lectionary Library), favored is Trinity 16 chorale Chorus 95, "Christ us, der ist mein Leben" (Lord Christ, he is my living, Ambrose trans.; BCW), alternate is Trinity 2 chorus Cantata 76, "Die Himmel erzählen die Ehre Gottes" (The heavens are telling of God the glory, Ps. 19:1, Ambrose trans.; BCW. Year A, 26 April 2026 (readings, Lectionary Library), favored is Pentecost Tuesday solo shepherd Cantata 175, "Er rufet seinen Schafen mit Namen" (He calleth his own sheep by name, Jn. 10:3; BCW), alternate is Misericordias chorus Cantata 104, "Du Hirte Israel, höre" (Thou guide of Israel, hear me, Ps. 80:2; BCW).
For the Fifth Sunday after Easter (Rogate, petition): Year B, 28 April 2024 (readings, Lectionary Library), gospel, John 15-1-8 (Jesus, Real Vine, Lectionary Library), favored is Trinity 17 chorus Cantata 148, "Bringet dem Herrn Ehre seines Namens" (Bring to the Lord honor for his name's sake, Ps. 96:8-9; BCW), alternate is Easter chorus Cantata 31, "Der Himmel lacht! Die Erde jubilieret" (The heavens laugh! The earth doth ring with glory, Ambrose trans.; BCW). Year C, 18 May 2025 (readings, Lectionary Library), gospel, Jn 13:31-35 (New Commandment, Lectionary Library), favored is Cantata 95 (see above), alternate is Trinity 2 chorus Cantata 76 (see above).
Added Sixth Sunday after Easter
The Three-Year Lectionary adds the Sixth Sunday after Easter 5 (Antipascha, "in place of Easter") before the Ascension Feast: Year B, 5 May 2024 (readings, Lectionary Library), gospel, John 15:9-17 (farewell discourse Great Commandment Lectionary Library), favored is Pentecost Sunday chorus Cantata 172, "Erschallet, ihr Lieder, erklinget, ihr Saiten!" (Resound now, ye lyrics, ring out now, ye lyres!, Jn. 14:23, Ambrose trans.; BCW), alternate is 2nd Day of Christmas (Feast of St. Stephen) solo Cantata 57, "Selig ist der Mann" (Blessed is the man, Jas. 1-12, Ambrose trans.; BCW). Year C, 25 May 2025 (readings, Lectionary Library), gospel, John 14:23-29 Promise of the Holy Spirit or John 5:1-9 Healing at the Pool (Lectionary Library), Cantata 59, "Wer mich liebet, der wird mein Wort halten" [I] (He who loves me will keep my commandments, Jn. 14:23, Ambrose trans.; BCW), alternate is Trinity 19 chorus Cantata 48, "Ich elender Mensch, wer wird mich erlösen" (A poor man am I; who will set me free," Rom. 7:24, Ambrose trans.; BCW). Year A, 10 May 2026 (readings, Lectionary Library), gospel John 14:15-21 (Promise of Holy Spirit, Lectionary Library), favored is Cantate chorus Cantata 108, "Es ist euch gut, daß ich hingehe" (It is for you that I depart now, Jn. 16:7; BCW.
Feast of Ascension
For the feast of the Ascension of Our Lord: Year B, 9 May 2024 (readings, lectionary Library), Acts 1:1-11 (Lectionary Library), gospel, Luke 24:44-53 (Jesus' Ascension, Lectionary Library), favored is the Ascension Oratorio [Himmelfahrts-Oratorium], "Lobet Gott in seinen Reichen" (Laud to God in all his kingdoms, Lk. 24:50-51, Ambrose trans.; BCW), alternate is Ascension chorus Cantata 43, "Gott fähret auf mit Jauchzen" (God goeth up with shouting, Ps. 47:6-7; BCW). Year C, 29 May 2025 (readings, Lectionary Library); Acts 1:1-11 (Lectionary Library), gospel Luke 24:44-53 (Jesus' Ascension, Lectionary Library), favored is Cantata 43 (see above), alternate is Ascension chorale chorus Cantata 128, "Auf Christi Himmelfahrt allein" (On Christ's ascent to heaven alone; Ambrose trans.; BCW). Year A, 14 May 2026 (readings, Lectionary Library), Acts 1:1-11 (Lectionary Library),gospel, Luke 24:44-53 (Jesus' Ascension, Lectionary Library), favored is Cantata 128 (see above), alternate is Ascension Oratorio, BWV 11 (see above).
Exaudi Sunday
For the Seventh Sunday after Easter (Sunday After Ascension, Exaudi ("Hear, O Lord," Ps. 27:1), readings, Lectionary Library): Year B, 12 May 2024 (readings, Lectionary Library), gospel, John 17:6-19 (Jesus Prays for His Disciples, Lectionary Library), favored is undesignated (?Jubilate) pure chorale Cantata 100, "Was Gott tut, das ist wohlgetan" [III] (What God doth, that is rightly done, Ambrose trans.; BCW), alternate is Trinity 21 chorus Cantata 98, "Was Gott tut, das ist wohlgetan" [I] (What God doth, that is rightly done, Ambrose trans.; BCW). Year C, 1 June 2025 (readings, Lectionary Library), gospel Jn. 17:20-26 (Jesus Prays for His Disciples, Lectionary Library), favored is Purification feast chorale Chorus Cantata 125, "Mit Fried und Freud ich fahr dahin" (In peace and joy do I depart [Nunc dimittis, Luke 1:26], Ambrose trans.; BCW), alternate is Sexagesimae chorale chorus Cantata 126, "Erhalt uns Herr, bei deinem Wort" (Maintain us, Lord, within thy word, Ambrose trans.; BCW). Year A, 17 May 2026 (readings, Lectionary Library), gospel, John 17:1-11 (Jesus Prays for His Disciples, Lectionary Library), favored is Sunday after Christmas solo Cantata 152, "Tritt auf die Glaubensbahn" (Walk on the road of faith, Ambrose trans.; BCW), alternative is Cantata 43 (see above).
Apostle Day Cantatas
The Three-Year Revised Common Lectionary carries three single-day apostles observances with appropriate cantatas: 1. April 25, "Mark, Evangelist," gospel Mark 1:1-15 (John the Baptist, Jesus' Baptism), favored John the Baptist feast chorus Cantata 30, "Freue dich, erlöste Schar" (Joyful be, O ransomed throng, Ambrose trans.; BCW); 2. May 1, "Philip & James, Apostles," gospel John 14:8-14 (Jesus way to Father), favored Pentecost Sunday chorus Cantata 74, "Wer mich liebet, der wird mein Wort halten" [II] (He who loves me will keep my commandments, Jn. 14:23, Ambrose trans.; BCW); and 3, May 14, "Matthias, Apostle," gospel Acts 1:15-26 (Judas' Successor), favored is Trinity 4 pure chorale chorus Cantata 177, "Ich ruf zu dir, Herr Jesu Christ" (I call to thee, Lord Jesus Christ; BCW).
Postscript: Bach in the Easter Season of 1724 began mapping his musical outline of a Johannine trilogy with the composition of his St. John Passion, BWV 245, presentation of Easter Resurrection Cantatas 4 and 31, and the beginning of Jesus' Farewell Discourse to His Disciples (Chapters 14-16) for the five Sundays after Easter from the Third Sunday (Jubilate) to Exaudi (6th or 7th) in the following cantatas: Jubilate Jn. 16:16-23 (Sadness & Gladness), BWV 12, 103, 146; Cantate, Jn. 16:5-15 (Jesus; departure, coming of the Spirit), BWV 166, 6 108 (JLB 14); Rogate, Jn. 16:23-30 (Victory over World), BWV 86, 87 (JLB lost); Exaudi, Jn. 15:26-16:4 (Coming of Spirit, Persecution), BWV 44, 183; Pentecost Sunday, Jn. 14:23-31 (Promise of Spirit), BWV 172, 59, 74, 34). As Bach completed his first school year at St. Thomas in the spring of 1724, he began planning his 1724/25 second church-year cantata cycle (Carus-Verlag) with a homogeneous collection of chorale cantatas (BCW: scroll down to "Chorale Cantata Cycle") while beginning to plan his St. Matthew Passion for Good Friday 1725 (BCW).
ENDNOTES
1 Eric Chafe: J. S. Bach's Johannine Theology: The St. John Passion and the Cantatas for Spring 1725 (Oxford GB: Oxford University Press, 2014), Amazon.com.
2 Cantata 6 is the third of 10 balanced structures using Alfred Dürr’s third group of six-movement cantatas with opening biblical dictum (usually) chorus and closing plain chorale flanking aria-chorale-recitative-aria (Alfred Dürr, Cantatas of J. S. Bach, revised and translated by Richard D. P. Jones [New York: Oxford University Press, 2005: 27f], Oxford University Press).
3 John S. Setterlund, Bach Through the Year: The Church Music of Johann Sebastian Bach and the Revised Common Lectionary (Minneapolis MN: Lutheran University Press, 2013: 36), Amazon.com.
4 Easter Wednesday (3 April 2024), with the lectionary readings (Bible Gareway; John 21:1-14, Jesus Appears to Seven Disciples (Bible Gateway.
5 Sixth Sunday after Easter: Gooogle Search Results.
6 Although Cantata 108 was thought to be part of a double bill on Cantate Sunday, 7 May 1724, with lost Weimar Cantata Anh. 191, "Leb ich oder leb ich nicht" (Live I or Live I not) there is no source-critical evidence or music extant and beyond the various studies cited above, neither the Bach Compendium: Analytisch-bibliographisches Repertorium der Werke Johan Sebastian Bachs of Hans-Joachim Schulze and Christoph Wolff (BCW) nor the new Bach Werke Verzeichnis 3rd edition (Breitkopf) cite BWV Anh. 191 in the Bach canon. At the same time, Bach had available cantfor Easter season of Johann Ludwig Bach which he presented in 1726 while composing the St. Matthew Passion (see BCW, "Ostersonntag" to "Misericordias Dom." (JLB 21=BWV 15, 10, 11, 6, 12) and Cantate and Rogate (JLB 14 and "Der Herr ist nahe allen, 5th Sunday after Easter, no JLB, lost.
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To Come: Bach's 1724-25 Chorale Cantata Cycle: Ambitious, Incomplete |
