There are 52 chorale cantatas by Johann Sebastian Bach surviving in at least one complete version. Around 40 of these were composed during his second year as Thomaskantor in Leipzig, which started after Trinity Sunday 4 June 1724, and form the backbone of his chorale cantata cycle. The eldest known cantata by Bach, an early version of Christ lag in Todes Banden, BWV 4, presumably written in 1707, was a chorale cantata. The last chorale cantata he wrote in his second year in Leipzig was Wie schön leuchtet der Morgenstern, BWV 1, first performed on Palm Sunday, 25 March 1725. In the ten years after that he wrote at least a dozen further chorale cantatas and other cantatas that were added to his chorale cantata cycle.

Lutheran hymns, also known as chorales, have a prominent place in the liturgy of that denomination. A chorale cantata is a church cantata based on a single hymn, both its text and tune. Bach was not the first to compose them, but for his 1724-25 second Leipzig cantata cycle he developed a specific format: in this format the opening movement is a chorale fantasia on the first stanza of the hymn, with the hymn tune appearing as a cantus firmus. The last movement is a four-part harmonisation of the chorale tune for the choir, with the last stanza of the hymn as text. While the text of the stanzas used for the outer movements was retained unchanged, the text of the inner movements of the cantata, a succession of recitatives alternating with arias, was paraphrased from the inner stanzas of the hymn.

Context

Martin Luther advocated the use of vernacular hymns during services. He wrote several himself, also worked on their tunes, and helped publish the first Lutheran hymnal, the Achtliederbuch, containing four of his hymns, in 1524.

Leipzig had a strong tradition of sacred hymns.[1][2] In 1690, the minister of the Thomaskirche, Johann Benedikt Carpzov, had announced that he would preach not only on the Gospel but also on a related "good, beautiful, old, evangelical and Lutheran hymn", and that Johann Schelle, then the director of music, would perform the hymn before the sermon.[3]

Bach's duties as an organist included accompanying congregational singing, and he was familiar with the Lutheran hymns. Some of Bach's earliest church cantatas include chorale settings, although he usually incorporates them into just one or two movements. Hymn stanzas are most typically included in his cantatas as the closing four-part chorale. In his passions, Bach used chorale settings to complete a scene.

Before Bach chorale cantatas, that is, cantatas entirely based on both the text and the melody of a single Lutheran hymn, had been composed by among others Samuel Scheidt, Johann Erasmus Kindermann, Johann Pachelbel and Dieterich Buxtehude. Sebastian Knüpfer, Johann Schelle and Johann Kuhnau, Bach's predecessors as Thomaskantor, had composed them. Contemporary to Bach, Christoph Graupner and Georg Philipp Telemann were composers of chorale cantatas.

From his appointment as Thomaskantor in Leipzig end of May 1723 to Trinity Sunday a year later Bach had been presenting the church cantatas for each Sunday and holiday of the liturgical year, his first annual cycle of cantatas.[4][5] His ensuing second cycle started with a stretch of at least 40 new chorale cantatas, up to Palm Sunday of 1725.[6] A week later, for Easter, he presented a revised version of the early Christ lag in Todes Banden chorale cantata.

Bach's chorale cantatas

The oldest known chorale cantate by Bach, which may well have been the first cantata he composed, was likely composed in 1707 for a presentation in Mühlhausen. All further extant chorale cantatas were composed in Leipzig. There Bach started composing chorale cantatas as part of his second cantata cycle in 1724, a year after having been appointed as Thomaskantor. Up to at least 1735 he amended that cycle transforming it into what is known as his chorale cantata cycle. With its 52 extant cantatas for known occasions, out of 64 for a full cantata cycle in a city like Leipzig where during the largest part of advent and lent a silent time was observed, the cycle however remains incomplete.

Possibly the inspiration for starting a chorale cantata cycle in 1724 is linked to it being exactly two centuries after the publication of the first Lutheran hymnals.[3] The first of these early hymnals is the Achtliederbuch, containing eight hymns and five melodies. Four chorale cantatas use text and/or melody of a hymn in that early publication (BWV 2, 9, 38 and 117). Another 1524 hymnal is the Erfurt Enchiridion: BWV 62, 91, 96, 114, 121 and 178 are based on hymns from that publication. BWV 14, and 125 were based on hymns from Eyn geystlich Gesangk Buchleyn, also published in 1524.

The usual format of Bach's chorale cantatas is:

  • First movement (or, when the cantata starts with an instrumental sinfonia, the first movement with vocalists): choral movement, usually a chorale fantasia, that takes its text unmodified from the first stanza of the Lutheran hymn on which the cantata is based. In this movement the chorale melody most often appears as a cantus firmus in the soprano part.
  • Inner movements: usually three to five movements which are recitatives alternating with arias, based on the inner stanzas of the hymn. For the chorale cantatas Bach premiered from 11 June 1724 to 25 March 1725 the text of these inner movements is almost always a rephrasing, by an unknown author, of the hymn's inner stanzas. For chorale cantatas composed before and after that period Bach often uses unmodified hymn text for the inner movements of his chorale cantatas.[7] When the text of all stanzas of the hymn is used unmodified that is called per omnes versus.
  • Last movement: four-part homophonic setting for SATB voices of the hymn tune, taking the unmodified last stanza of the hymn as text.

In Bach's time the congregation would have sung during some of the services in which the cantatas were performed, but it is not known whether the congregation would have joined the choir in singing the chorales in the cantatas themselves. On the other hand, although Bach's chorale arrangements can be tricky for amateur singers, sometimes in 21st-century performances of the cantatas and passions audience participation is encouraged. For example, the Monteverdi Choir encouraged audience participation in a 2013 performance of the Christ lag in Todes Banden cantata.[8]

Legend to the sortable table
column content
1 BG The numbers refer to the 44 cantatas that survived the 18th century as performance parts kept in Leipzig: the list follows Dörffel in the 27th volume of the Bach Gesellschaft (BG) publication.[9]
2 K
(basic order)		 K numbers of the chronological Zwang catalogue for Bach's cantatas: this catalogue keeps the bulk of the chorale cantatas together in the range K 74–114. This catalogue places the Reformation Day cantata Ein feste Burg ist unser Gott, for 31 October, between the chorale cantatas for Trinity XXI and for Trinity XXII in 1724, instead of a few years later as most other scholars do.[7][10]
3 BWV Number of the cantata in the Bach-Werke-Verzeichnis (Bach works catalogue)
4 cantata Name of the cantata, by incipit (in German). Links go to the separate article on the cantata.
5 occasion Indicates for which occasion in the liturgical year Bach's church cantata was written.
6 BD Bach Digital (BD): this column contains external links to the "Bach Digital Work" pages on the cantatas at the bach-digital.de website. Such webpages contain links to various primary sources, including early manuscripts (e.g. Bach's autographs when extant), and the cantata text.
Not listed as chorale cantatas at that website:[11]
  • BWV 58, 68 and 128: not chorale cantatas in a strict sense, nonetheless belonging to the chorale cantata cycle.
  • BWV 192: incomplete cantata, the three extant parts of which are however based on the same hymn
7 date Date(s) of the first and/or other early stagings of the cantata. Links go to chronological entries in the list below
8 hymn Indicates the Lutheran hymn on which the cantata is based, represented by the hymn's Zahn number when available (some hymns have more than one melody associated with it, the Zahn number is a unique identification of the Hymn tune used in the cantata). A few minor spelling variations aside, the name of the hymn is identical to the name of the cantata given in column 4. Links go to the article on the hymn.
9 year Year associated with the hymn, typically the year of first publication. A horizontal line separates the year associated with the hymn's text from the year associated with the hymn's melody (if different). Links go to entries in the list below that add details about the hymn.
10 text by

tune by

 Author of the hymn text and composer of the hymn melody, separated by a horizontal line (if different). Links go to articles on the author and/or composer of the hymn.
Background colors
Color Signifies
yellow The libretto of the cantata consists exclusively of unmodified hymn text
orange-brown Not a chorale cantata in the strict sense, but seen as part of the cycle
Bach's chorale cantatas
BGKBWVcantataoccasiondateBDhymnyear text by

tune by

1744Christ lag in Todes BandenEaster24 Apr 1707
8 Apr 1708
9 Apr 1724
1 Apr 1725		00004
00005		 7012a 1524 Luther
217420O Ewigkeit, du DonnerwortTrinity I11 Jun 172400023 5820 1642

1642/1653

 Rist

Schop/Crüger

22752Ach Gott, vom Himmel sieh dareinTrinity II18 Jun 172400002 4431 1524[lower-alpha 1] Luther
23767Christ unser Herr zum Jordan kamSt. John's Day24 Jun 172400008 7246 1541 Luther

Walter?

77135Ach Herr, mich armen SünderTrinity III25 Jun 172400167 5385a[lower-alpha 2] 1597 Schneegass

Hassler

277810Meine Seel erhebt den HerrenVisitation2 Jul 172400012 German
Magnificat		 1522

 

 Luther[lower-alpha 3]

Luther?[lower-alpha 4]

257993Wer nur den lieben Gott läßt waltenTrinity V9 Jul 172400118 2778 1657 Neumark
2880107Was willst du dich betrübenTrinity VII23 Jul 172400132 5264b 1630 Heermann
2981178Wo Gott der Herr nicht bei uns hältTrinity VIII30 Jul 172400216 4441a[lower-alpha 5] 1524[lower-alpha 6] Jonas
308294Was frag ich nach der WeltTrinity IX6 Aug 172400119 5206b 1664 Kindermann

Fritsch

3183101Nimm von uns, Herr, du treuer GottTrinity X13 Aug 172400126 2561[lower-alpha 7] 1584 Moller

Luther?

84113Herr Jesu Christ, du höchstes GutTrinity XI20 Aug 172400138 4486 1588 Ringwaldt
338533Allein zu dir, Herr Jesu ChristTrinity XIII3 Sep 172400043 7292b 1540

1512

 Hubert

Hofhaimer

348678Jesu, der du meine SeeleTrinity XIV10 Sep 172400097 6804 1642 Rist
358799Was Gott tut, das ist wohlgetanTrinity XV17 Sep 172400124 5629 1674 Rodigast

Gastorius[lower-alpha 8]

36888Liebster Gott, wenn werd ich sterben?Trinity XVI24 Sep 1724[lower-alpha 9]
17 Sep 1747[lower-alpha 10]		00009
00010		 6634 c. 1690

bef. 1697

 Neumann

Vetter

89130Herr Gott, dich loben alle wirSt. Michael's Day29 Sep 1724
and later		00158
00159		 368[lower-alpha 11] 1554 Eber

Bourgeois

3790114Ach, lieben Christen, seid getrostTrinity XVII1 Oct 172400139 4441a[lower-alpha 12] 1561

1524[lower-alpha 13]

 Gigas

 

389196Herr Christ, der einge GottessohnTrinity XVIII8 Oct 172400121 4297a[lower-alpha 14] 1524[lower-alpha 15]

1455

 Cruciger

 

39925Wo soll ich fliehen hinTrinity XIX15 Oct 172400006 2177 1630 Heermann
93180Schmücke dich, o liebe SeeleTrinity XX22 Oct 172400218 6923 1649 Franck, J.
409438Aus tiefer Not schrei ich zu dirTrinity XXI29 Oct 172400053 4437 1524[lower-alpha 16] Luther
9580b
80		Ein feste Burg ist unser GottReformation Day1723 or later
1727 or later		00101
00099		 7377 c.1529 Luther
96115Mache dich, mein Geist, bereitTrinity XXII5 Nov 172400140 6274a[lower-alpha 17] 1695 Freystein
4197139Wohl dem, der sich auf seinen GottTrinity XXIII12 Nov 172400171 2383 1692 Rube
429826Ach wie flüchtig, ach wie nichtigTrinity XXIV19 Nov 172400033 1887b 1652 Franck, M.

Crüger

4399116Du Friedefürst, Herr Jesu ChristTrinity XXV26 Nov 172400141 4373 1601 Ebert
110062Nun komm, der Heiden HeilandAdvent I3 Dec 172400078 1174 1524[lower-alpha 18] Luther
210191Gelobet seist du, Jesu ChristChristmas25 Dec 1724
and later		00116
00115		 1947 1524[lower-alpha 19] Luther
3102121Christum wir sollen loben schonChristmas 226 Dec 172400148 297c 1524[lower-alpha 20] Luther
4103133Ich freue mich in dirChristmas 327 Dec 172400163 5187 1697 Ziegler
5104122Das neugeborne KindeleinChristmas I31 Dec 172400149 4911597Schneegass
610541Jesu, nun sei gepreisetNew Year1 Jan 172500056 8477a 1539 Hermann
8106123Liebster Immanuel, Herzog der FrommenEpiphany6 Jan 1725001504932c 1679 Fritsch
9107124Meinen Jesum laß ich nichtEpiphany I7 Jan 172500151 3449 1658 Keymann

Hammerschmidt

101083Ach Gott, wie manches HerzeleidEpiphany II14 Jan 172500003 533a 1587

1455[lower-alpha 21]

 Moller

 

109111Was mein Gott will, das g'scheh allzeitEpiphany III21 Jan 172500136 7568[12] 1547
1555[lower-alpha 22]

1528[lower-alpha 23]

 Albert of Prussia

de Sermisy

1311092Ich hab in Gottes Herz und SinnSeptuagesimae28 Jan 172500117 7568 1647

1528[lower-alpha 23]

 Gerhardt

de Sermisy

12111125Mit Fried und Freud ich fahr dahinPurification2 Feb 172500152 3986[lower-alpha 24] 1524[lower-alpha 25] Luther
14112126Erhalt uns, Herr, bei deinem WortSexagesimae4 Feb 172500153 350 1541 Luther & Jonas
15113127Herr Jesu Christ, wahr' Mensch und GottEstomihi11 Feb 172500154 2570 1557

1551[lower-alpha 26]

 Eber

Bourgeois?[13]

161141Wie schön leuchtet der MorgensternAnnunciation
Palm Sunday[lower-alpha 27]		25 Mar 172500001 8359 1599 Nicolai
122128Auf Christi Himmelfahrt alleinAscension10 May 172500156 4457[lower-alpha 28] 1661 Sonnemann
1912568Also hat Gott die Welt geliebt[lower-alpha 29]Pentecost 221 May 172500085 5920 1675 Liscow

Vopelius

deestIch ruf zu dir, Herr Jesu Christ[lower-alpha 30]Trinity III17 Jun 172501669 7400 1529?/31 Agricola
32129137Lobe den Herren, den mächtigen König der EhrenTrinity XII19 Aug 172500169 1912a 1680 Neander
20142129Gelobet sei der Herr, mein GottTrinity8 Jun 172700157 5206b 1665 Olearius
716158Ach Gott, wie manches HerzeleidNew Year I5 Jan 1727
1733 or 1734		00074
00073		 533a 1587/1610

c.1455

 Moller/Behm

 

172117Sei Lob und Ehr dem höchsten Gut ZZZ_unknown 1728–173100142 4430 1673

1524[lower-alpha 31]

 Schütz, J. J.

Speratus

181192Nun danket alle Gott ZZZ_unknown 173000233 5142 1636(c.)

1647(c.)

Rinkart

Crüger

18182112Der Herr ist mein getreuer HirtEaster II8 Apr 173100137 4457 1530 Meuslin

Decius

44184140Wachet auf, ruft uns die StimmeTrinity XXVII25 Nov 173100172 8405 1599 Nicolai
24186177Ich ruf zu dir, Herr Jesu ChristTrinity IV6 Jul 1732[lower-alpha 32]00215 7400 1529?/31 Agricola
261879Es ist das Heil uns kommen herTrinity VI20 Jul 173200011 4430 1524[lower-alpha 33] Speratus
188100Was Gott tut, das ist wohlgetan ZZZ_unknown 1732–173500125 5629 1674 Rodigast

Gastorius[lower-alpha 34]

18997In allen meinen TatenTrinity V?25 Jul 1734?00122 2293b 1633 Fleming
1119614Wär Gott nicht mit uns diese ZeitEpiphany IV30 Jan 173500016 4434 1524[lower-alpha 35] Luther

Easter 1707?

  • 24 April 1707 (Easter): Christ lag in Todes Banden, BWV 4 (K 4), early version, assumed to have been presented in Mühlhausen. In that case it would be Bach's first documented cantata: the cantata is however only fully extant in its later versions. It was performed then as the test piece for the post of Organist at the Church Divi Blasii in that town. He repeated it on 8 April 1708.

Reformation Day 1723?

Easter 1724

During his first year in Leipzig Bach presented a reworked version of his 1707 Easter cantata in Leipzig:

  • 9 April 1724 (Easter): Christ lag in Todes Banden, BWV 4 (K 4), Leipzig version, first performance. Bach changed the last movement to reflect the current one (4-part Chorale setting). The first version (1707 & 1708) had the last verse (last movement) using the same music as the 1st verse (2nd movement).

First Sunday after Trinity 1724 to Easter 1725

The first four chorale cantatas presented in 1724 appear to form a set: Bach gave the cantus firmus of the chorale tune to the soprano in the first, to the alto in the second, to the tenor in the third, and to the bass in the fourth. He varied the style of chorale fantasia in those four cantatas: French Overture in BWV 20, Chorale motet in BWV 2, Italian concerto in BWV 7, and vocal and instrumental counterpoint in BWV 135.[14]

Ascension to Trinity 1725

Two cantatas opening with a chorale fantasia usually grouped with the chorale cantatas

Later additions to the chorale cantata cycle

After Trinity 1725 Bach added further cantatas to the chorale cantata cycle, at least up to 1735:

  • 19 August 1725 (Trinity XII): Lobe den Herren, den mächtigen König der Ehren, BWV 137, a per omnes versus chorale cantata.
  • 5 January 1727 (New Year I = Christmas II; there hadn't been a Sunday between New Year and Epiphany in 1725): Ach Gott, wie manches Herzeleid, BWV 58 (K 161), early version. This version is partly lost: the continuo part is all that is left from its middle movement. The other four movements are to a large extent identical to the 1730s version of this cantata (however without oboes in the outer movements).
  • 129 (1727)
  • 1727 or later (31 October, Reformation Day): Ein feste Burg ist unser Gott, BWV 80 (K 95), second Leipzig version. An early version of this cantata, BWV 80b, may have been composed or performed as early as 1723. The trumpet parts in the second Leipzig version were possibly a later addition by W. F. Bach. Luther's "Ein feste Burg ist unser Gott" (A Mighty Fortress Is Our God) was probably written and published in the late 1520s. Its oldest extant print is in Andrew Rauscher's 1531 hymnal.
  • 112 (1731)
  • 140 (1731)
  • 177 (1732)
  • 9 (1732)
  • 4 January 1733 or 3 January 1734 (New Year I): Ach Gott, wie manches Herzeleid, BWV 58 (K 161), later version as published by the Bach Gesellschaft in Vol. 122, p. 133 ff. In this version a new composition replaces the third movement, and oboes are added in the outer movements. The cantata's libretto, by Christoph Birkmann, is not completely consistent with the chorale cantata format, but the cantata was certainly intended as an addition to the cycle. The cantata is unusual in combining the text of two hymns (Martin Moller's 1587 "Ach Gott, wie manches Herzeleid" and Martin Behm's 1610 "Herr Jesu Christ, meins Lebens Licht", both sung to the same 15th-century hymn tune), and in ending on a chorale fantasia instead of a four-part chorale. The hymn tune had first appeared in the Lochamer-Liederbuch (1451–1460). In a strict sense it is thus not a chorale cantata.
  • 14 (1735)

Chorale cantatas with unknown liturgical function

For some chorale cantatas, written from 1728 to 1735, it is not known for which occasion they were written, and whether they were intended to belong to a cycle:

Notes

  1. ↑ No. 5 in Achtliederbuch
  2. ↑ melody of "O Haupt voll Blut und Wunden"
  3. ↑ text in Luther Bible
  4. ↑ tonus peregrinus
  5. ↑ text of 6 (of 8) verses kept
  6. ↑ No. 14 in Erfurt Enchiridion
  7. ↑ melody of "Vater unser im Himmelreich"
  8. ↑ based on Werner Fabricius
  9. ↑ first version in E major
  10. ↑ second version in D major
  11. ↑ melody Old 100th
  12. ↑ melody of "Wo Gott der Herr nicht bei uns hält"
  13. ↑ No. 14 in Erfurt Enchiridion
  14. ↑ melody of secular "Mein Freud möcht sich wohl mehren"
  15. ↑ No. 10 in Erfurt Enchiridion
  16. ↑ No. 7 in Achtliederbuch
  17. ↑ melody of "Straf mich nicht in deinem Zorn"
  18. ↑ No. 23 in Erfurt Enchiridion
  19. ↑ No. 8 in Erfurt Enchiridion
  20. ↑ No. 23 in Erfurt Enchiridion
  21. ↑ Melody of "Herr Jesu Christ, meins Lebens Licht" in Lochamer-Liederbuch
  22. ↑ fourth and final stanza, anonymous
  23. 1 2 chanson "Il me suffit de tous mes maulx"
  24. ↑ German Nunc dimittis
  25. ↑ in Eyn geystlich Gesangk Buchleyn
  26. ↑ melody of "Wenn einer schon ein Haus aufbaut" in Genevan Psalter (1551 edition)
  27. ↑ Annunciation and Palm Sunday coincided in 1725
  28. ↑ not based on a chorale, but beginning with a chorale fantasia
  29. ↑ beginning and ending with a chorale fantasia, each on a different hymn (both with the same hymn tune)
  30. ↑ music lost, possibly composed by Telemann or, alternatively, an early version of BWV 177 (see BD 00215); this cantata's libretto, identical to that of BWV 177 (the 1732 cantata for Trinity IV in the chorale cantata cycle) was published as the text for a cantata performed on Trinity III, 17 June 1725 in Leipzig
  31. ↑ melody of "Es ist das Heil uns kommen her", No. 2 in Achtliederbuch
  32. ↑ composed at a later date while in 1724 Visitation fell on the Sunday of Trinity IV
  33. ↑ No. 2 in Achtliederbuch
  34. ↑ based on Werner Fabricius
  35. ↑ in Eyn geystlich Gesangk Buchleyn

References

  1. ↑ Sadie, Stanley, ed. (2001). The New Grove Dictionary of Music and Musicians. Oxford University Press. pp. II 331–5, V 26–7, 746, XIV 511–4. ISBN 978-0-19-517067-2.
  2. ↑ Leahy, Anne; Leaver, Robin A. (2011). J. S. Bach's "Leipzig" Chorale Preludes: Music, Text, Theology. Scarecrow Press. p. 79. ISBN 978-0-8108-8181-5.
  3. 1 2 Hofmann, Klaus (2002). "O Ewigkeit, du Donnerwort, BWV 20 / O eternity, thou thunderous word" (PDF). bach-cantatas.com. p. 5. Retrieved 5 June 2012.
  4. ↑ Christoph Wolff (1991). Bach: Essays on his Life and Music. Harvard University Press. ISBN 978-0-674-05926-9. Retrieved 21 June 2011.
  5. ↑ John Eliot Gardiner (2004). "Cantatas for the First Sunday after Trinity / St Giles Cripplegate, London" (PDF). bach-cantatas.com. p. 2. Retrieved 5 June 2012.
  6. ↑ Dürr, Alfred (1971). Die Kantaten von Johann Sebastian Bach (in German). Vol. 1. Bärenreiter-Verlag. OCLC 523584.
  7. 1 2 Günther Zedler. Die Kantaten von Johann Sebastian Bach: Eine Einführung in die Werkgattung. Books on Demand, 2011. ISBN 9783842357259, p. 32–34
  8. ↑ Hewett, Ivan (2013). "Bach Marathon, Albert Hall, Review". The Telegraph. Retrieved 4 May 2015.
  9. 1 2 Alfred Dörffel. Bach-Gesellschaft Ausgabe Volume 27: Thematisches Verzeichniss der Kirchencantaten No. 1–120. Breitkopf & Härtel, 1878. Introduction, pp. V–IX
  10. ↑ Philippe (and Gérard) Zwang. Guide pratique des cantates de Bach. Paris, 1982. ISBN 2-221-00749-2. See Johann Sebastian Bach: Correspondance Catalogues Zwang — Schmeider at www.musiqueorguequebec.ca
  11. ↑ "Choralkantate" at www.bach-digital.de
  12. 1 2 Chorale Melodies used in Bach's Vocal Works: Was mein Gott will, das g'scheh allzeit at www.bach-cantatas.com
  13. 1 2 Louis Bourgeois (editor; composer). Pseaumes Octante Trois de David. Geneva, 1551.
  14. ↑ Julian Mincham (2010). "Chapter 5 BWV 135 Ach Herr, mich armen Sünder". jsbachcantatas.com. Archived from the original on 5 December 2011. Retrieved 4 July 2011.
  15. ↑ Johann Rist (author) and Johann Schop (composer, editor). Johann Risten Himlische Lieder (revised edition). Lüneburg: Johann & Heinrich Stern, 1658, pp. 34–36 (I, No. 6) and 202–208 (III, No. 10)
  16. ↑ Carl von Winterfeld. Der evangelische Kirchengesang und sein Verhältniss zur Kunst des Tonsatzes. Breitkopf und Härtel, 1843, p. 415
  17. ↑ Philippe and Gérard Zwang. Guide pratique des cantates de Bach. Second revised and augmented edition. L'Harmattan, 2005. ISBN 9782296426078. pp. 43–44
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