Delphi Masterworks of Johann Sebastian Bach
Page 74
90 Es reifet euch ein schrecklich. Twenty-fifth Sunday after Trinity.
187 Es wartet Alles auf dich. Seventh Sunday after Trinity, 1737. Music is used for Mass in G minor.
Fallt mit Danken. Part IV. of Christmas oratorio. English edition, Novello.
52 Falsche Welt, dir trau. Twenty-third Sunday after Trinity. Solo Cantata for soprano.
30 Freue dich, erlöste Schaar. St John’s Day, originally a “Dramma per Musica” in honour of the Saxon Minister, Von Hennicke. Composed in 1737, and arranged as a church cantata, 1738, after Bach had received the title of Court Composer. It is in the “Lombardic” style introduced by Vivaldi, consisting of frequent syncopation.
35 Geist und Seele wird. Twelfth Sunday after Trinity.
129 Gelobet sei der Herr, mein Gott. Trinity Sunday.
91 Gelobet seist du, Jesus Christ. Christmas. Chorale Cantata. Words by Martin Luther.
18 Gleich wie der Regen und. Sexagesima. The orchestration is unusual, consisting of four violas, fagotto, violoncello and organ.
191 Gloria in excelsis Deo. Christmas. Rearranged from the B minor Mass.
79 Gott der Herr, ist Sonn’ und Schild. Reformation Festival.
106 Gottes Zeit ist die allerbeste Zeit. For no special season. English edition, “God’s time is the best,” Novello. Called “Actus tragicus,” probably a funeral cantata. Mühlhausen about 1708.
43 Gott fähret auf mit Jauchzen. Ascension Day. English version, “God goeth up with shouting,” Novello.
71 Gott ist mein König. Election of Town Council at Mühlhausen, 1708. See p. 36.
191 Gott ist uns’re Zuversicht.. Wedding Cantata.
28 Gottlob! nun geht das Jahr. First Sunday after Christmas.
120 Gott, man lobet dich in der Stille. Election of Town Council at Leipsic. In the score the letters J.J. (Jesu juva) frequently occur.
169 Gott soll allein mein Herze. Eighteenth Sunday after Trinity. For alto solo.
171 Gott, wie dein Name, so ist auch dein Ruhm. Circumcision. The first chorus occurs with modifications as part of the “Credo” of the B minor Mass.
67 Halt’ im Gedächtnis Jesum Christ. First Sunday after Easter (Quasimodogeniti). Edition with English words, “Hold in remembrance Jesus Christ,” Rieter-Biedermann.
96 Herr Christ, der ein’ge Gottes Sohn. Eighteenth Sunday after Trinity. Chorale Cantata. Words by Elizabeth Creutzinger.
102 Herr, deine Augen sehen nach dem. Tenth Sunday after Trinity.
105 Herr, gehe nicht in’s Gericht. Ninth Sunday after Trinity.
Herr Gott, Beherrscher aller Dinge. Wedding Cantata. Incomplete.
130 Herr Gott, dich loben alle wir. Michaelmas Day.
16 Herr Gott, dich loben wir. Circumcision. Chorale Cantata.
113 Herr Jesu Christ, du höchstes Gut. Eleventh Sunday after Trinity. Chorale Cantata.
127 Herr Jesu Christ, wahr’r Mensch und Gott. Quinquagesima (Estomihi). Chorale Cantata.
Herrscher des Himmels. Part III. of Christmas oratorio. English edition, Novello.
Herr, wenn die stolzen Feinde schnauben. Part VI. of Christmas oratorio. English edition, Novello.
73 Herr, wie du willt, so schick’s mit mir! Third Sunday after Epiphany.
147 Herz und Mund und That und Leben. The return of Mary from Egypt.
182 Himmelskönig, sei willkommen. Annunciation. Originally composed for Palm Sunday.
194 Höchst erwünschtes Freudenfest. Dedication of the organ at Störmthal.
55 Ich armer Mensch, ich Sündenknecht. Twenty-second Sunday after Trinity. For tenor solo.
85 Ich bin ein guter Hirt. Second Sunday after Easter (Misericordias).
84 Ich bin vergnügt mit meinem Glücke. Septuagesima.
48 Ich elender Mensch wer wird mich. Nineteenth Sunday after Trinity.
133 Ich freue mich in dir. Christmas. Chorale Cantata. Leipsic, 1737.
49 Ich geh’ und suche mit. Twentieth Sunday after Trinity.
109 Ich glaube lieber Herr, hilf meinem. Twenty-first Sunday after Trinity.
82 Ich habe genug. Purification.
188 Ich habe meine Zuversicht. Twenty-first Sunday after Trinity. The copyist directs that the “organ concerto” of “Wir müssen durch viel Trübsal” in D minor (arranged from the Clavecin Concerto in that key) is to be used as an “introduction.” Words by Picander.
92 Ich hab’ in Gottes Herz und Sinn. Septuagesima. Chorale Cantata. Words by Paul Gerhardt.
21 Ich hatte viel Bekümmernis. “Per ogni tempi,” “For all times.” English edition, “My spirit was in heaviness,” Novello. Composed on his being made concert-meister at Weimar, and performed there on the third Sunday after Trinity, 1714.
162 Ich, ich sehe, jetzt da ich zur Hochzeit gehe. Solo Cantata for soprano, alto, tenor, bass.
158 Ich lasse dich nicht, du segnest. Purification. Solo Cantata for tenor and bass. The violetta occurs in the score.
174 Ich liebe den Höchsten von ganzem. Whitsunday. Solo Cantata for alto, tenor, bass.
177 Ich ruf zu dir, Herr Jesu Christ. Fourth Sunday after Trinity. Chorale Cantata.
156 Ich steh’ mit einem Fuss im Grabe. Third Sunday after Epiphany.
160 Ich weiss, dass mein Erlöser. Monday in Easter Week.
56 Ich will den Kreuzstab gerne tragen. Nineteenth Sunday after Trinity. For bass solo.
164 Ihr, die ihr euch von Christo. Thirteenth Sunday after Trinity. Solo Cantata for soprano, alto, tenor, bass.
167 Ihr Menschen, rühmet Gottes. St John’s Day. Solo Cantata for soprano, alto, tenor and bass.
193 Ihr Pforten zu Zion. Election of Town Council.
103 Ihr werdet weinen und heulen. Third Sunday after Easter (Jubilate).
97 In allen meinen Thaten. For no special season. Words by Dr Paul Flemming.
Jauchzet, frohlocket. Christmas oratorio. Part I., English version, Novello.
51 Jauchzet Gott in allen Landen. Fifteenth Sunday after Trinity. Solo Cantata for soprano.
78 Jesu, der du meine Seele. Fourteenth Sunday after Trinity. In this cantata the ground bass of the “Crucifixus” of the B minor Mass is used. Edition with English words, “Jesu, Saviour, who by dying,” Rieter-Biedermann.
41 Jesu, nun sei gepreiset. Circumcision. Chorale Cantata. English edition, “Jesus, now will we praise Thee,” Novello.
22 Jesus nahm zu sich die Zwölfe. Quinquagesima (Estomihi). Bach’s test piece for the Leipsic post after the death of Kuhnau. Performed there, February 7th, 1723.
81 Jesus schläft, was soll ich hoffen? Fourth Sunday after Epiphany.
161 Komm du süsse Todesstunde! Purification; also for the Sixteenth Sunday after Trinity.
Kommt, eilet, lauft. Easter oratorio.
181 Leicht gesinnte Flattergeister. Sexagesima.
8 Liebster Gott, wann werd’ ich sterben. Sixteenth Sunday after Trinity.
123 Liebster Immanuel, Herzog der Frommen. Epiphany. Chorale Cantata.
32 Liebster Jesu, mein Verlangen. First Sunday after Epiphany. Called “Dialogue.” Solo Cantata for soprano and bass.
137 Lobe den Herren, den Mächtigen. Twelfth Sunday after Trinity. Leipsic, between 1742 and 1747. Words by Joachim Neander.
69 Lobe den Herrn meine Seele! Twelfth Sunday after Trinity.
143 Lobe den Herrn meine Seele. New Year’s Day.
11 Lobet Gott in seinen Reichen. Ascension Day. Called by Bach “oratorium festo ascensionis Christi.” Part of this cantata is used in the B minor Mass.
115 Mache dich, mein Geist, bereit. Twenty-second Sunday after Trinity. Chorale Cantata.
149 Man singet mit Freuden vom Sieg. Michaelmas Day.
124 Meinen Jesum lass’ ich nicht. First Sunday after Epiphany. Chorale Cantata.
10 Meine Seel’ erhebt den Herren. Return of Mary from Egypt. Chorale Cantata.
189 Meine Seele rühmt und preist. For no special season.
13 Meine Seufzer meine Thränen. Second Sunday after Epiphany. Solo Cantata for soprano, alto,
tenor and bass voices, accompanied by wind instruments and organ, no strings being used.
155 Mein Gott, wie lang’. Second Sunday after Epiphany.
154 Mein liebster Jesus ist verloren. First Sunday after Epiphany.
125 Mit Fried’ und Freud’ ich fahr’ dahin. Purification. Chorale Cantata.
150 Nach dir, Herr, verlanget mich. For no special season.
101 Nimm’ von uns Herr, du treuer Gott. Tenth Sunday after Trinity. Chorale Cantata.
144 Nimm, was dein ist, und gehe hin! Septuagesima.
192 Nun danket alle Gott. For no special season.
50 Nun ist das Heil und die Kraft. For no special season.
61 Nun komm, der Heiden Heiland. First Sunday in Advent. First composition in A minor. Inside the cover of this cantata Bach has written the order of the service for the morning of Advent Sunday, 1714, at Leipsic. See p. 44.
62 Nun komm, der Heiden Heiland. First Sunday in Advent. Chorale Cantata. Second composition in B minor.
163 Nur Jedem das Seine! Twenty-third Sunday after Trinity. Solo Cantata for soprano, alto, tenor and bass.
34 O ewiges Feuer, o Ursprung der Liebe. Whitsunday. English edition, “O Light Everlasting,” Novello.
O ewiges Feuer. Wedding Cantata. Incomplete.
20 O Ewigkeit du Donnerwort. First Sunday after Trinity.
60 O Ewigkeit du Donnerwort. Twenty-fourth Sunday after Trinity. Solo Cantata for alto, tenor and bass.
165 O heil’ges Geist- und Wasserbad. Trinity Sunday. Solo Cantata for soprano, alto, tenor, bass.
118 O Jesu Christ mein’s Lebenslicht. The accompaniment is for two litui, cornet and three trombones; no strings or organ. It was probably intended for the open air (perhaps for a funeral) as it is the only cantata with no continuo part.
119 Preise Jerusalem den Herrn. Performed in the Nicolai Church on August 30, 1723, at the election of Town Council. It was also performed by Mendelssohn on the unveiling of the Bach Memorial at Leipsic, April 23, 1843.
46 Schauet doch und sehet. Tenth Sunday after Trinity.
153 Schau’ liebe Gott wie meine Feinde. Second Sunday after Christmas.
53 Schlage doch! gewünschste Stunde. Funeral Cantata for alto solo.
180 Schmücke dich o liebe Seele. Twentieth Sunday after Trinity. Chorale Cantata.
36 Schwingt freudig euch empor. First Sunday in Advent.
64 Sehet welch’ eine Liebe. Christmas.
159 Sehet, wir geh’n hinauf. Quinquagesima (Estomihi).
117 Sei Lob und Ehr’ dem höchsten Gut. For no special season.
57 Selig ist der Mann. Christmas. Solo Cantata for soprano and bass.
88 Siehe ich will viel Fischer. Fifth Sunday after Trinity.
179 Siehe zu dass deine Gottesfurcht nicht. Eleventh Sunday after Trinity.
65 Sie werden aus Saba alle kommen. Epiphany. Edition with English words, “They all shall come from Saba,” Rieter-Biedermann.
44 Sie werden Euch in den Bann thun. Sunday after Ascension Day (Exaudi).
183 Sie werden Euch in den Bann thun. Sunday after Ascension Day (Exaudi).
190 Singet dem Herrn ein neues Lied. Circumcision. Incomplete. Performed 25th of June 1730, at the second Jubilee celebration of the Augsburg Confession.
145 So du mit deinem Munde bekennest. Easter Day, and Wednesday in Easter Week.
151 Süsser Trost, mein Jesus kömmt. Christmas.
168 Thue Rechnung Donnerwort. Ninth Sunday after Trinity. Solo Cantata for soprano, alto, tenor, bass.
152 Tritt auf die Glauben’s Bahn. First Sunday after Christmas.
Und es waren Hirten auf dem Felde. Part II. Christmas oratorio. English edition, Novello.
110 Unser Mund sei voll Lachens. Christmas.
142 Uns ist ein Kind geboren. Christmas.
170 Vergnügte Ruh’ beliebte. Sixth Sunday after Trinity. For alto solo.
140 Wachet auf, ruft uns die Stimme. Twenty-seventh Sunday after Trinity. Leipsic, 1742. Words by P. Nicolai.
70 Wachet, betet, seid bereit allezeit. Twentieth Sunday after Trinity.
86 Warlich ich sage euch. Rogation Sunday.
14 Wär’ Gott nicht mit uns diese Zeit. Fourth Sunday after Epiphany.
138 Warum betrübst du dich mein Herz. Fifteenth Sunday after Trinity. Leipsic, 1737. Words by Hans Sachs.
94 Was frag’ ich nach der Welt! Ninth Sunday after Trinity. Chorale Cantata.
98 Was Gott thut das ist wohlgethan. Twenty-first Sunday after Trinity.
99 Was Gott thut, das ist wohlgethan. Fifteenth Sunday after Trinity.
100 Was Gott thut, das ist wohlgethan. For no special season. Words by S. Rudigast.
111 Was mein Gott will das g’sche all’ zeit. Third Sunday after Epiphany. Chorale Cantata.
89 Was soll ich aus dir machen. Twenty-second Sunday after Trinity.
107 Was willst du dich betrüben. Seventh Sunday after Trinity.
12 Weinen, klagen, sorgen, zagen. Third Sunday after Easter (Jubilate). The opening chorus is on the same ground bass as the “Crucifixus” of the B minor Mass.
37 Wer da glaubet und getauft wird. Ascension Day.
17 Wer Dank opfert der preiset mich. Fourteenth Sunday after Trinity. Edition with English words, “Whoso offereth praise,” Reiter-Biedermann.
59 Wer mich liebet der wird mein. Whitsunday.
74 Wer mich liebet der wird mein. Whitsunday. Solo Cantata for soprano and bass.
93 Wer nur den lieben Gott lässt walten. Fifth Sunday after Trinity.
47 Wer sich selbst erhöht der soll. Seventeenth Sunday after Trinity.
27 Wer weiss wie nahe mir mein Ende. Sixteenth Sunday after Trinity. English edition, “When will God recall my spirit,” Novello.
54 Widerstehe doch der Sünde. For no special season. Alto solo.
1 Wie Schön leuchtet der Morgenstern. Annunciation. Chorale Cantata.
29 Wir danken dir, Gott, wir danken dir. Election of Town Council at Leipsic, 1737.
146 Wir müssen durch viel Trübsal. Third Sunday after Easter (Jubilate).
166 Wo gehest du hin? Fourth Sunday after Easter (Cantate). Solo Cantata for alto, tenor, bass.
178 Wo Gott der Herr nicht bei uns hält. Eighth Sunday after Trinity. Chorale Cantata.
139 Wohl dem der sich auf seinen Gott. Twenty-third Sunday after Trinity. Chorale Cantata, Leipsic, between 1737 and 1744.
5 Wo soll ich fliehen hin. Nineteenth Sunday after Trinity. Chorale Cantata.
FUNERAL ODE
Lass, Fürstin, lass noch einen Strahl. Called “Weeping Leipsic.” Written for the death of Princess Christiane Eberhardine, wife of Augustus the Strong.
MOTETS
Jesu meine Freude. Five voices. English edition, “Jesu, priceless treasure,” Novello. A hymn by Franck in six stanzas.
Der Geist hilft unsrer Schwachheit auf. Eight voices. Written for the funeral of the Rector Heinrich Ernesti, 1729. The composer added a figured bass for the organ. English edition, “The Spirit also helpeth us,” Novello.
Furchte dich nicht. Eight voices. English edition, “Be not afraid,” Novello.
Komm Jesu, komm. Eight voices.
Lob und Ehre und Weisheit und Dank. Eight voices. English edition, “Blessing, Glory and Wisdom,” Novello.
Singet dem Herrn ein neues Lied. Psalm 149, eight voices. English edition, “Sing ye to the Lord,” Novello.
Ich lasse dich nicht. Eight voices. This motet is by some attributed to Joh. Christoph Bach. English edition, “I wrestle and pray,” Novello.
A Latin motet for two choruses heard by J. L. Gerber at Christmas, 1767, is lost.
Lobet den Herrn, alle Heiden. Psalm 117. Four voices.
SECULAR CANTATAS
Drama: Geschwinde, ihr wirbelnden Winde. The contest between Phœbus and Pan.
Weichet nur, betrübte Schatten. For soprano voice.
Amore traditore. For bass voice, accompanied by cembalo only.
Drama: Zerreisset, zerspringet, Zertrümmert die G
ruft. For the name-day of Dr A. F. Muller. Leipsic, Aug. 3, 1725.
Drama: Schleicht, spielende Wellen. For the birthday of Augustus III.
Drama: Vereinigte Zwietracht der wechselnden Saiten. For a University celebration, Leipsic, 1726.
Was mir behagt, ist nur die muntre Jagd.
Non sa che sia dolore. For soprano solo.
O holder Tag, erwünschte Zeit. Wedding Cantata for soprano solo.
Schweigt stille, plaudert nicht. In praise of coffee.
Mer hahn en neue Oberkeet. Complimentary Cantata to Carl Heinrich von Dieskau.
Mit Gnaden bekröne der Himmel die Zeiten.
O angenehme Melodei. Soprano solo.
Durchlauchster Leopold. Serenade for two solo voices and orchestra.
Schwingt freudig euch empor. For the birthday of a teacher.
Die Freude reget sich. For the birthday of Professor Rivinus.
Drama: Lasst uns sorgen, lasst uns wachen. Complimentary Cantata to a Saxon Princess. The opening chorus from Christmas oratorio.
Tönet ihr Pauken! erschallet Trompeten! For the birthday of the Queen of Saxony, December 1733. See p. 145.
Drama: Preise dein Glücke. For the anniversary of the election of Augustus III. as King of Poland, 1734.
Drama: Angenehmes Wiederau. Persons represented — Fate, Happiness, Time, and the river Elster. The opening chorus from the cantata “Freue dich erlöste Schaar.”
Drama: Auf schmetternde Töne der muntern Trompeten. For the name-day of King Augustus III.
WORKS KNOWN TO BE LOST
Three Passions. It is known that Bach wrote five Passions, from information given by his son C. P. Emanuel, and his pupil Agricola in Mizler’s Necrology.
A great funeral ode on the death of Prince Leopold of Cöthen.
Several Cantatas.
Catalogue of Instrumental Works
ORGAN
The numbers refer to the volumes in Peters’ edition in which each work will be found.
Six sonatas for two manuals and pedal (240). These sonatas and the passacaglia were written for his young son, W. Friedemann, to practise on the pedal clavichord. Many of the trills, which are necessary on this instrument, are intended to be omitted when the pieces are played on the organ. According to tradition the date is 1723. The first movement of the sonata in D minor appears in 1722, as the prelude in that key in Part I. of the Forty-eight.