family was gradually increasing. In 1700, undoubtedly upon the
recommendation of Elias Herda, cantor of the school in Ohrdruf, Bach
was admitted to St. Michael's School in Lüneburg; but he was now no
longer a pupil, for in return for the general instruction which he
received he was obliged to act as a sort of assistant chorusmaster
for his comrades; at least as a leader. When his voice changed, which
soon came about, he was charged with the clavecin accompaniment at
chorus rehearsals, or with playing a violin part in the orchestra. He
had, in fact, studied that instrument since his earliest childhood,
his father having been a good violinist. He profited in his new
surroundings by the advice of Georg Böhm, organist of St. John's
Church in Lüneburg, and a musician of merit, whose influence upon
Bach is apparent in many of the latter's earlier compositions,
especially in the chorales.
The location of Lüneburg permitted him also, from this time on,
to make trips on foot to Hamburg, where he heard Adam Reinken and
Vincent Lübeck, or to Celle, where the orchestra of the ducal court
performed French music; then the fashion, complains Mattheson, not
because of a value whose existence this German critic denied, but
simply--the final misfortunes of the reign of Louis XIV. had not yet
dimmed this glory--because it was French.
In 1703 Bach left St. Michael's School; he had been so busily
occupied with music while there, that he very likely had been unable
to exhaust the depths of the general curriculum, which in itself
was rather limited. Not that they had been satisfied with giving
him instruction of a too elementary nature; but Bach, in point
of intellectual culture, was much inferior to most of the great
musicians of his time, Mattheson and Händel, for instance, both of
whom had attended the University.
In any case, Bach's scant means would have forbidden his availing
himself of a university education. On leaving St. Michael's School
he was obliged to provide for himself; but here his talent for the
violin came to his aid, and procured him admission, at Weimar, not
only to the court orchestra, but to an orchestra which Johann Ernst,
the brother of the reigning Duke Wilhelm Ernst, maintained at his own
expense. He did not remain there long; in the summer of 1703, as a
result of a journey to Arnstadt, where he was heard upon the organ
of the New Church,[200] the position of organist of this parish was
offered him. The place was a modest one (seventy thalers salary),
but advantageous for Bach, who at his leisure could perfect himself
in organ-playing and practise vocal composition, having a choir to
conduct; his first cantata dates from Arnstadt.
[Footnote 200: This instrument was constructed in 1701 by Wender, an
organ-builder in Mühlhausen. Wender had a certain local reputation,
but was unskilful and not very conscientious.]
Besides, meagre as was his salary, he could save enough for a
journey to Lübeck to hear Buxtehude, whom he had long desired to
know; for while his brother Christoph had taught him Pachelbel's
methods, Georg Böhm, of another school, had already impressed on
him that dualism whence was born, when another element was added to
it, his own originality. Receiving the favor of a leave of absence
for one month, Bach betook himself from Arnstadt to Lübeck the last
of October, 1705; he did not return until February, 1706. From this
journey he brought back a new virtuosity and the susceptibility of a
young artist who from that moment felt himself a master; the former
singularly disappointed the parish. He now accompanied the chorale
with Buxtehude's exaggerated freedom; the ears of the faithful
could not follow such elaborations, and, still worse, their voices
lost the clue, and the choir fell into confusion. Hence a scandal,
and thereupon a reprimand from the vestry. Moreover, had not Bach
singularly outstayed his leave of absence? And again, why should
he now neglect his choir? Why no more "music"? and still other
grievances. Stung to the quick, Bach answered them by thenceforth
affecting the very excesses in accompaniment which had met with such
opposition, and by leaving entirely to themselves his choristers,
whose _sottise_ and coarseness disgusted him. As to the rest, he
explained nothing, but sought another place; more than a year passed
in these troubles. Upon the death of G. Ahle, organist of the church
of St. Blasius in Mühlhausen, he applied for this position; it fell
to his lot as the result of a competition, and he entered upon his
duties during the summer of 1707. The same year (October 17) he
married his cousin, Maria Barbara Bach.
From a pecuniary point of view the situation was not bad,[201]
but the organ was detestable. Bach gave himself no rest until he
accomplished its restoration by the council; he himself drew up a
scheme for this, which was found to be so practical that it was
adopted. But scarcely had the work been commenced, when the Duke
of Saxe-Weimar, Wilhelm Ernst, offered him the position of court
organist (1708). Bach accepted; Mühlhausen was then the scene of
sectarian dissensions, pietists and orthodox were in open strife, in
which were lost the efforts of Bach to establish a "regular style of
music wholly to the glory of God,"[202] as he himself said; to which,
moreover, the pietists were by doctrine[203] opposed. An aggravating
circumstance was that Frohne, the _Oberintendant_ of the church of
St. Blasius, was one of the most ardent disciples of Spener, the
founder of the pietists' sect; and Bach had chosen, as godfather for
his first child, Eilmar, pastor of the Church of the Blessed Virgin
Mary, who was the defender of the older traditions, to which Bach was
devotedly attached.
[Footnote 201: Besides a salary of 85 thalers, he had various
perquisites "in kind."]
[Footnote 202: One of his cantatas, _Gott ist mein König_, was
engraved in separate parts by Brückner of Mühlhausen.]
[Footnote 203: See Philipp Spitta: _Johann Sebastian Bach_, vol. i,
p. 354.]
Bach spent nine years at Weimar; for him this period was the
complement of his finished years of study, and was the most brilliant
in his career as a virtuoso. He played at neighboring courts, and his
reputation was sufficiently great to put to flight Marchand (who was
called "_le grand Marchand_"), who had been invited in 1717 to meet
him in a sort of musical tournament. Numerous cantatas, as well as
some chamber music, date from this period. In fact, during the last
years of his residence in Weimar, Bach had undertaken the duties,
without the title, of director of chamber music to the court, in
addition to his vocation as organist; succeeding the aged Drese, who
was too old to fill the position effectively. Upon the death of the
latter, late in 1716, Bach expected the appointment; but nothing came
of it, and this lack of recognition caused him to accept the offer he
received next year from the Prince of Anhalt-Cöthen.
At Cöthen there was no more organ playing to be done; no more church
music to direct--the prince was a Calvinist. As to his duties, for
which he had been well prepared by his recent experience at Weimar,
Bach was content with the composition of most of the suites and
sonatas for violin, _viola da gamba_, flute, and clavecin; further,
the first part of the Well-tempered Clavichord dates from Cöthen.
This is worthy of note, because of the relationship which can be
established between certain organ works and some of those in this
volume.
A life which might thenceforward have been so quiet, Bach being
treated as a friend by his prince, and having no further care than
the performance of music in an intimate manner, was in 1720 crossed
by a sudden misfortune; upon his return from a journey to Carlsbad,
Bach found his home desolate; his wife, Maria Barbara, was dead.
Despite his grief, Bach recovered himself in a comparatively short
time, for in November of the same year he went to Hamburg to conduct
the cantata _Wer sich selbst erhöhet, der soll erniedriget werden_;
he drew from Adam Reinken, by his improvisations upon the organ, an
outburst of enthusiasm which the old man had never entertained for
anyone but himself.
Left alone with his children, who were still young, Bach lost no time
in remarrying (December 3, 1721); this time a good musician, Anna
Maria Wülken, who acted as his copyist, and for whom he wrote several
pieces.
Upon the death of Kuhnau, cantor at St. Thomas' School in Leipzig
(1722), Bach advanced his candidacy. He was not unknown in Leipzig,
where enough confidence had been reposed in him to cause his summons
as an expert, in 1717, to examine with Kuhnau the organ in the
University Church.
Meanwhile there were delays; Bach was not installed until May 31,
1723. Beside music lessons, and the direction of the choirs in St.
Thomas' and St. Nicholas' Churches, the cantor (the third in the
school by order of precedence) was still charged with certain duties
of supervision, and in addition had a course in Latin to conduct; the
latter Bach avoided as much as possible.
In itself it was not, on the whole, a very advantageous position
for Bach, nor one where his independence would be respected; many
annoyances, besides an almost overwhelming amount of labor, were
caused him by the director, or more indirectly by envious musicians.
Despite all these mortifications, and the difficulties of his
situation--mitigated, it is true, as long as the celebrated Gessner
was at the head of the school--Bach never left it; in soliciting
it, he had taken into consideration the advantages it offered for
bringing up his family, which was steadily increasing.
We have commented upon the relatively small number of organ
compositions which date from this period, but this is not the case
with the other religious works; of 295 cantatas, divided among
five liturgical years, about 266 were written in Leipzig; five
settings of the Passion, the Christmas Oratorio (1734), the Easter
(1736), that of the Ascension, and a number of motets, composed
between 1723 and 1734--only a few of these are to-day complete;
others are apocryphal--four "_Missae breves_" (short masses), the
Mass in _B_ minor, composed between 1730 and 1737, testify to
his prodigious activity in this style of music. Further, he did
not rest without writing numerous secular works, in particular
the concertos for several clavecins; he published some technical
studies which he engraved himself; and he completed the second part
of the Well-tempered Clavichord. If we add to the time devoted to
the composition of these works that given to the duties of his
position--to lessons, rehearsals, etc.--and to numerous pupils, we
shall realize why this last period is less productive of biographical
incidents of note. We may finally mention the famous journey to
Berlin in 1740, the last triumph of "Old Bach."
In consequence of this excess of fatigue, Bach was destined to lose
his sight during the last years of his life; the unskilfulness of the
surgeons did the rest.
Bach passed away July 28, 1750. His remains were interred in St.
John's cemetery; but the location of his grave is to-day unknown,
because of the transformation which this burying ground underwent at
the end of the last century.[204]
[Footnote 204: [Subsequent to the writing of the above, and during
the progress of general disinterment incidental to the devotion to
other uses of the land occupied by the cemetery, Bach's remains
were found and identified by most scientific methods. In August,
1900, took place the official ceremony of reinterment in a stone
sarcophagus, contained in a crypt constructed for the purpose at
the foot of the chancel steps of the new _Johanniskirche_ (St.
John's Church). Upon this occasion the University _Gesangverein zu
St. Pauli_ sang. September 2d of the same year, at the close of the
weekly "Abend-Motette" (the program on this occasion having been
devoted entirely to works of Bach), the solo-quartet of the church
sang in the crypt the chorale from the St. Matthew Passion _Wenn
ich einmal soll scheiden_, in the presence of a few other reverent
"friends of Bach's music." The following morning the lid of the
sarcophagus was permanently closed and sealed.
By its side, enclosed in a similar receptacle, lie the ashes of
Gellert, the poet.--TR.]]
Catalogue
OF THE
COMPLETE WORKS
OF
JOHANN SEBASTIAN BACH
EDITION OF THE BACH-GESELLSCHAFT
FIRST YEAR.
CHURCH CANTATAS. VOL. I.
No. 1. Wie schön leuchtet der Morgenstern.
" 2. Ach Gott, vom Himmel sieh darein.
" 3. Ach Gott, wie manches Herzeleid. (First setting.)
" 4. Christ lag in Todesbanden.
" 5. Wo soll ich fliehen hin.
" 6. Bleib' bei uns, denn es will Abend werden.
" 7. Christ unser Herr zum Jordan kam.
" 8. Liebster Gott, wann werd' ich sterben?
" 9. Es ist das Heil uns kommen her.
" 10. Meine Seel' erhebt den Herren!
SECOND YEAR.
CHURCH CANTATAS. VOL. II.
No. 11. Lobet Gott in seinen Reichen.
" 12. Weinen, Klagen, Sorgen, Zagen.
" 13. Meine Seufzer, meine Thränen.
" 14. Wär' Gott nicht mit uns diese Zeit.
" 15. Denn du wirst meine Seele nicht in der Hölle lassen.
" 16. Herr Gott, dich loben wir.
" 17. Wer Dank opfert, der preiset mich.
" 18. Gleich wie der Regen und Schnee vom Himmel fällt.
" 19. Es erhub sich ein Streit.
" 20. O Ewigkeit, du Donnerwort. (First setting.)
THIRD YEAR.
PIANOFORTE WORKS. VOL. I.
Fifteen Inventions and Fifteen Symphonies.
_Klavierübung:_
First Part: Six partitas.
Second " A concerto and a partita.
Third Part: Chorale-preludes and duets.
Fourth " Aria, with thirty variations.
Toccata in F sharp minor.
Toccata in C minor.
Fugue in A minor.
FOURTH YEAR.
Passion-music according to St. Matthew the Evangelist.
FIFTH YEAR.
_First Issue:_
CHURCH CANTATAS. VOL. III.
No. 21. Ich hatte viel Bekümmerniss.
" 22. Jesus nahm zu sich die Zwölfe.
" 23. Du wahrer Gott und David's Sohn.
" 24. Ein ungefärbt Gemüthe.
" 25. Es ist nichts Gesundes an meinen Leibe.
" 26. Ach wie flüchtig, ach wie nichtig.
" 27. Wer weiss, wie nahe mir mein Ende.
" 28. Gottlob! nun geht das Jahr zu Ende.
" 29. Wir danken dir, Gott, wir danken dir.
" 30. Freue dich, erlöste Schaar.
_Second Issue:_
Christmas Oratorio, the Text from St. Luke, ii: 1-21; and St. Matthew
ii: 1-12.
First Part: For Christmas Eve: Jauchzet, frohlocket, auf, preiset
die Tage!
Second " For the day after Christmas: Und es waren Hirten in
derselben Gegend.
Third " For the second day after Christmas: Herrscher des
Himmels, erhöre das Lallen.
Fourth " For New Year's Day: Fallt mit Danken, fallt mit Loben.
Fifth " For the Sunday after New Year's: Ehre sei dir, Gott,
gesungen.
Sixth " For the Feast of the Epiphany: Herr, wenn die stolzen
Feinde schnauben.
SIXTH YEAR.
The Mass in B Minor.
SEVENTH YEAR.
CHURCH CANTATAS. VOL. IV.
No. 31. Der Himmel lacht, die Erde jubiliret.
" 32. Liebster Jesu, mein Verlangen.
" 33. Allein zu dir, Herr Jesu Christ.
" 34. O ewiges Feuer, o Ursprung der Liebe.
" 35. Geist und Seele wird verwirrt.
" 36. Schwingt freudig euch empor.
" 37. Wer da glaubet und getauft wird.
" 38. Aus tiefer Noth schrei' ich zu dir.
" 39. Brich dem Hungrigen dein Brot.
" 40. Dazu ist erschienen der Sohn Gottes.
EIGHTH YEAR.
Four Masses, in F major, A major, G minor and G major.
NINTH YEAR.
CHAMBER-MUSIC. VOL. I.
Three Sonatas for pianoforte and flute.
Suite for pianoforte and violin.
Six Sonatas for pianoforte and violin.
Three Sonatas for pianoforte and _viola da gamba_.
Sonata for flute, violin, and figured bass.
Sonata for two violins and figured bass.
Appendix.
TENTH YEAR.
CHURCH CANTATAS. VOL. V.
No. 41. Jesu, nun sei gepreiset.
" 42. Am Abend aber desselbigen Sabbaths.
" 43. Gott fähret auf mit Jauchzen.
" 44. Sie werden euch in den Bann thun.
" 45. Es ist dir gesagt, Mensch, was gut ist.
" 46. Schauet doch und sehet, ob irgend ein Schmerz sei.
" 47. Wer sich selbst erhöhet, der soll erniedriget werden.
" 48. Ich elender Mensch, wer wird mich erlösen.
" 49. Ich geh' und suche mit Verlangen.
" 50. Nun ist das Heil und die Kraft.
ELEVENTH YEAR.
_First Issue:_
Magnificat in D major.
Four _Sanctus_, in C major, D major, D minor and G major. Appendix.
_Second Issue:_
VOCAL CHAMBER-MUSIC. VOL. I.
TWELFTH YEAR.
_First Issue:_
Passion-music according to St. John the Evangelist.
_Second Issue:_
CHURCH CANTATAS. VOL. VI.
No. 51. Jauchzet Gott in allen Landen.
" 52. Falsche Welt, dir trau' ich nicht.
" 53. Schlage doch, gewünschte Stunde.
" 54. Widerstehe doch der Sünde.
" 55. Ich armer Mensch, ich Sündenknecht.
" 56. Ich will den Kreuzstab gerne tragen.
" 57. Selig ist der Mann.
" 58. Ach Gott, wie manches Herzeleid. (Second Setting.)
" 59. Wer mich liebet, der wird mein Wort halten. (First Setting.)
" 60. O Ewigkeit, du Donnerwort. (Second Setting.)
THIRTEENTH YEAR.
_First Issue:_
MARRIAGE CANTATAS.
Dem Gerechten muss das Licht.
Der Herr denket an uns.
Gott ist unsere Zuversicht.
Three Chorales.
_Second Issue:_
PIANOFORTE WORKS. VOL. II.
Six greater Suites, known as the "English."
Six lesser Suites, known as the "French."
_Third Issue:_
Funeral Ode upon the death of the wife of August the Strong,
"Christiane Eberhardine," Queen of Poland and Electress of Saxony.
FOURTEENTH YEAR.
PIANOFORTE WORKS. VOL. III.
The Well-tempered Clavichord.
First Part, 1722.
Second Part, 1744.
Appendix. Supplementary Readings and Explanations.
FIFTEENTH YEAR.
ORGAN WORKS. VOL. I.
Six Sonatas for 2 manuals and pedal.
Six Preludes and Fugues. First Series.
Six " " " Second "
Six " " " Third "
Three Toccatas.
Passacaglia.
SIXTEENTH YEAR.
CHURCH CANTATAS. VOL. VII.
No. 61. Nun komm, der Heiden Heiland. (First Setting.)
" 62. Nun komm, der Heiden Heiland. (Second Setting.)
" 63. Christen, ätzet diesen Tag.
" 64. Sehet, welch' eine Liebe hat uns der Vater erzeiget.
" 65. Sie werden aus Saba Alle kommen.
" 66. Erfreut euch, ihr Herzen.
" 67. Halt' im Gedächtniss Jesum Christ.
" 68. Also hat Gott die Welt geliebt.
" 69. Lobe den Herrn, meine Seele.
" 70. Wachet, betet, seid bereit allezeit.
SEVENTEENTH YEAR.
CHAMBER MUSIC. VOL. II.
Seven Concertos for Pianoforte with orchestral accompaniment:
No. 1, D minor; No. 2, E major; No. 3, D major; No. 4, A major; No.
5, F minor; No. 6, F major; No. 7, G minor.
Triple Concerto for Pianoforte, flute and violin, with orchestral
accompaniment.
Appendix.
EIGHTEENTH YEAR.
CHURCH CANTATAS. VOL. VIII.
No. 71. Gott ist mein König.
" 72. Alles nur nach Gottes Willen.
" 73. Herr, wie du willst, so schick's mit mir.
" 74. Wer mich liebet, der wird mein Wort halten. (Second and more
elaborate Setting.)
" 75. Die Elenden sollen essen.
" 76. Die Himmel erzählen die Ehre Gottes.
" 77. Du sollst Gott, deinen Herrn, lieben.
" 78. Jesu, der du meine Seele.
" 79. Gott der Herr ist Sonn' und Schild.
" 80. Ein' feste Burg ist unser Gott.
NINETEENTH YEAR.
CHAMBER MUSIC. VOL. III.
1. Concerto in F major for two horns, three oboes, bassoon,
_obbligato Quart-Geige_,[205] two violins, viola, violoncello, and
_continuo_.
[Footnote 205: A small-sized violin, tuned a fourth higher.]
2. Concerto in F major for _obbligato_ trumpet, flute, oboe and
violin, with accompaniment of two violins, viola and _continuo_.
3. Concerto in G major for three violins, three violas, three
violoncellos and _continuo_.
4. Concerto in G major for _obbligato_ violin with accompaniment of
two flutes (_flûtes à bec_), two violins, viola, violoncello and
_continuo_.
5. Concerto in D major for pianoforte, flute and violin, with
accompaniment of violin, viola, violoncello and _continuo_.
6. Concerto in B flat major for two violas, two gambas, violoncello
and _continuo_.
TWENTIETH YEAR.
_First Issue:_
CHURCH CANTATAS. VOL. IX.
No. 81. Jesus schläft, was soll ich hoffen?
" 82. Ich habe genug.
" 83. Erfreute Zeit im neuen Bunde.
" 84. Ich bin vergnügt in meinem Glücke.
" 85. Ich bin ein guter Hirt.
" 86. Wahrlich, ich sage euch.
" 87. Bisher habt ihr nichts gebeten in meinem Namen.
" 88. Siehe, ich will viel Fischer aussenden, spricht der Herr.
" 89. Was soll ich aus dir machen, Ephraim?
" 90. Es reifet euch ein schrecklich Ende.
_Second Issue:_
VOCAL CHAMBER MUSIC. VOL. II.
Drama for the birthday of August III, king of Poland, etc.
Drama for a university festival, upon which Dr. Gottlieb Kortte
received the appointment of professor.
Drama for the name-day of King Augustus.
TWENTY-FIRST YEAR.
_First Issue:_
CHAMBER MUSIC. VOL. IV.
Concertos for violin with orchestral accompaniment.
No. 1, in A minor, } for one violin.
No. 2, in E major, }
No. 3, in D minor, for two violins.
No. 4, in D major. Symphonic movement for _obbligato_ violin.
_Second Issue:_
CHAMBER MUSIC. VOL. V.
Three Concertos for two pianofortes, with orchestral accompaniment.
No. 1, in C minor.
" 2, in C major.
" 3, in C minor.
_Third Issue:_
Easter Oratorio: "Kommt, eilet und laufet."
TWENTY-SECOND YEAR.
CHURCH CANTATAS. VOL. X.
No. 91. Gelobet seist du, Jesu Christ.
" 92. Ich hab' in Gottes Herz und Sinn.
" 93. Wer nur den lieben Gott lässt walten.
" 94. Was frag' ich nach der Welt.
" 95. Christus der ist mein Leben.
" 96. Herr Christ, der ein'ge Gottessohn.
" 97. In allen meinen Thaten.
" 98. Was Gott thut, das ist wohlgethan. (First Setting. B flat
major.)
" 99. Was Gott thut, das ist wohlgethan. (Second Setting. G major.)
" 100. Was Gott thut, das ist wohlgethan. (Third Setting. G major.)
Appendix.
TWENTY-THIRD YEAR.
CHURCH CANTATAS. VOL. XI.
No. 101. Nimm von uns, Herr, du treuer Gott.
" 102. Herr, deine Augen sehen nach dem Glauben.
" 103. Ihr werdet weinen und heulen.
" 104. Du Hirte Israel, höre.
" 105. Herr, gehe nicht in's Gericht.
" 106. Gottes Zeit ist die allerbeste Zeit.
" 107. Was willst du dich betrüben.
" 108. Es ist euch gut, dass ich hingehe.
" 109. Ich glaube, lieber Herr.
" 110. Unser Mund sei voll Lachens.
TWENTY-FOURTH YEAR.
CHURCH CANTATAS. VOL. XII.
No. 111. Was mein Gott will, das g'scheh' allzeit.
" 112. Der Herr ist mein getreuer Hirt.
" 113. Herr Jesu Christ, du höchstes Gut.
" 114. Ach, lieben Christen, seid getrost.
" 115. Mache dich, mein Geist, bereit.
" 116. Du Friedensfürst, Herr Jesu Christ.
" 117. Sei Lob und Ehr'dem höchsten Gut.
" 118. O Jesu Christ, mein's Lebens Licht.
" 119. Preise, Jerusalem, den Herrn.
" 120. Gott, man lobt dich in der Stille.
TWENTY-FIFTH YEAR.
_First Issue:_
_Die Kunst der Fuge._ (The Art of Fugue.)
Appendix. The Berlin autograph systematically arranged, and
supplementary readings.
_Second Issue:_ (Organ works.)
No. 1. _Orgelbüchlein_ (Little Organ-book).
No. 2. Six Chorales (the so-called _Schübler_ chorales).
No. 3. Eighteen Chorales (the so-called _great_ ones with the
Swan-song "_Vor deinen Thron tret' ich_").
Appendix A. Two older readings from Collection I.
B. Fifteen " " " " III.
TWENTY-SIXTH YEAR.
CHURCH CANTATAS. VOL. XIII.
No. 121. Christum wir sollen loben schon.
" 122. Das neugebor'ne Kindelein.
" 123. Liebster Immanuel, Herzog der Frommen.
" 124. Meinen Jesum lass' ich nicht.
" 125. Mit Fried' und Freud' ich fahr' dahin.
" 126. Erhalt' uns, Herr, bei deinem Wort.
" 127. Herr Jesu Christ, wahr'r Mensch und Gott.
" 128. Auf Christi Himmelfahrt allein.
" 129. Gelobet sei der Herr, mein Gott.
" 130. Herr Gott, dich loben alle wir.
TWENTY-SEVENTH YEAR.
CHAMBER MUSIC. VOL. VI.
_First Issue:_
Six Sonatas for violin.
Six Suites for violoncello.
_Second Issue:_
Thematic Catalogue of the Church Cantatas, Nos. 1-120.
TWENTY-EIGHTH YEAR.
CHURCH CANTATAS. VOL. XIV.
No. 131. Aus der Tiefe rufe ich, Herr, zu dir.
" 132. Bereitet die Wege, bereitet die Bahn.
" 133. Ich freue mich in dir.
" 134. Ein Herz, das seinen Jesum lebend weiss.
" 135. Ach Herr, mich armen Sünder.
" 136. Erforsche mich, Gott, und erfahre mein Herz.
" 137. Lobe den Herren, den mächtigen König der Ehren.
" 138. Warum betrübst du dich, mein Herz.
" 139. Wohl dem, der sich auf seinen Gott.
" 140. Wachet auf, ruft uns die Stimme.
Appendix. Two older arrangements of the Cantata No. 134:
(_a_) Mit Gnaden bekröne der Himmel die Zeiten.
(_b_) Ein Herz, das seinen Jesum lebend weiss.
TWENTY-NINTH YEAR.
VOCAL CHAMBER MUSIC. VOL. III.
Cantata. "Was mir behagt, ist nur die muntre Jagd."
Cantata. "Non sa che sia dolore."
Marriage Cantata. "O holder Tag, erwünschte Zeit."
Cantata. "Höchsterwünschtes Freudenfest."
Coffee Cantata. "Schweigt stille, plaudert nicht."
Cantata. "Mer hahn en neue Oberkeet."
Appendix I. Gratulations-Kantate (Thanksgiving Cantata). "Mit Gnaden
bekröne der Himmel die Zeiten."
II. Cantata. "O angenehme Melodei."
III. Instrumental movement for violin, flute and _continuo_.
THIRTIETH YEAR.
CHURCH CANTATAS. VOL. XV.