List of chorale harmonisations by Johann Sebastian Bach
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Johann Sebastian Bach's chorale harmonisations, alternatively named four-part chorales, are Lutheran hymn settings that characteristically conform to the following:
- four-part harmony
- SATB vocal forces
- pre-existing hymn tune allotted to the soprano part
- text treatment: homophonic no repetitions (i.e., each syllable of the hymn text is sung one time)
Around 400 of such chorale settings by Bach, mostly composed in the first four decades of the 18th century, are extant:
- Around half of that number are chorales which were transmitted in the context of larger vocal works such as cantatas, motets, Passions and oratorios. A large part of these chorales are extant as autographs by the composer, and for nearly all of them a colla parte instrumental and/or continuo accompaniment are known.
- All other four-part chorales exclusively survived in collections of short works, which include manuscripts and 18th-century prints. Apart from the Three Wedding Chorales collection (BWV250–252), these are copies by other scribes and prints only published after the composer's death, lacking context information, such as instrumental accompaniment, for the individual harmonisations.
Apart from homophonic choral settings, Bach's Lutheran hymn harmonisations also appear as:
- sung chorale fantasias in some of Bach's larger vocal works
- hymn melodies for which Bach composed or improved a thorough bass accompaniment, for instance as included in Georg Christian Schemelli's Musicalisches Gesang-Buch
- harmonisations included in purely instrumental compositions, most typically organ compositions such as chorale preludes or chorale partitas.
History
The compositions by Johann Sebastian Bach that had been printed during his lifetime were nearly exclusively instrumental works. Moreover, by the time Bach died in 1750 it was forgotten that a few of his vocal works (BWV 71, BWV 439–507,...) had indeed been printed in the first half of the 18th century. In the period between the publication of The Art of Fugue in the early 1750s, and the publication of further works from 1800, only one group of Bach's works was published: his four-part chorales.
The most complete 18th century publication of chorales by J. S. Bach is Carl Philipp Emanuel Bach's edition in four volumes, published by Breitkopf from 1784 to 1787. About half of the chorale harmonisations in this collection have their origin in other extant works by Bach. This collection went through four more editions and countless reprintings until 1897. Several other collections of chorales by J. S. Bach were published, some of these using the original C-clefs or different texts.
The loss of musical material from Bach's death to the first printings of chorale collections may have been substantial. Not only are many works the chorales were extracted from no longer extant but there is no way of knowing how much of all the harmonisations that were once compiled the current collections include. For example, there is no way of knowing how many of the 150 harmonisations first proposed for sale in 1764 also appear in Princess Anna Amalia's manuscript which ultimately forms the basis of the Breitkopf edition. As to the chorale melodies with figured bass, current collections include less than one hundred of them whereas those proposed for sale in 1764 numbered 240.
The chorale harmonisations BWV 250–438 were probably all extracted from lost larger vocal works. For six of them the work they have been derived from has been identified. Bach's chorale harmonisations are all for a four-part choir (SATB), but Riemenschneider's and Terry's collections contain one 5-part SSATB choral harmonisation (Welt, ade! ich bin dein müde, Riemenscheider No. 150, Terry No. 365), not actually by Bach, but used by Bach as the concluding chorale to cantata Wer weiß, wie nahe mir mein Ende, BWV 27.
Some harmonisations exist in different keys, i.e. pitches, in 18th-century sources: for instance a Bach cantata autograph gives the four-part chorale in one key, and the same harmonisation is found in one or more of the early chorale compilations in a different key.
Manuscripts
The first record of the existence and sale of groups of collected chorale harmonisations and chorale melodies with figured bass extracted from larger works by J.S. Bach is from 1764, fourteen years after Bach's death. In that year the firm Breitkopf und Sohn announced for sale manuscript copies of 150 chorale harmonisations and 240 chorale melodies with figured bass by J.S. Bach.
In 1777 Johann Kirnberger started an active letter campaign to induce Breitkopf to publish a complete set of chorale harmonisations. Kirnberger's letters emphasize his motivation to have the chorales printed in order to preserve them for the benefit of future generations. The manuscript to be used once belonged to C.P.E. Bach, who sold it through Kirnberger to Princess Anna Amalia of Prussia (for twelve louis d'or). It is presumed that this manuscript contained neither the text of the chorales nor any reference to the larger works from which the harmonisations had been taken. The manuscript's harmonisations extracted only the vocal parts and ignored the instrumental parts and the continuo, even though all of Bach's chorale settings included both instrumental parts and continuo. The instrumental parts were either independent, so called obbligato instrumental parts, or mostly doubled the vocal parts sometimes separating from it for a very few beats, and the continuo had its bass mostly double the vocal bass at the lower octave, but could also separate from it for a very few beats. Finally in some cases, for reasons unknown, whoever extracted the chorale from the larger work, changed the key of the setting.
"Y" manuscript hypothesis
Hypothetical early autograph collection of chorale harmonisations from which Bach would have selected settings he later integrated into his larger vocal works.
Larger vocal works manuscripts
Mostly extant as autograph score and/or as parts written out under Bach's supervision: many of these works, such as cantatas and Passions, include four-part chorales
Three Wedding Chorales autograph
Bach's autograph of the wedding chorales BWV250–252, written between 1734 and 1738.
Dietel manuscript, a.k.a. Dietel Collection and, in German, Choralsammlung Dietel
Earliest of the extant larger collection of chorale harmonisations manuscripts. It contains 149 chorale harmonisations (not 150 as is written on its title page) and originated around 1735. The music in the manuscript was copied by Johann Ludwig Dietel, one of Bach's pupils from the Thomasschule.
Printed editions
A few chorale harmonisations had been published before Bach adopted them into his larger vocal works, and are therefore listed as spurious in the third annex of the BWV catalogue:
- "Welt, ade! ich bin dein müde", BWV Anh. 170[scores], also known as closing movement of cantata BWV 27: five-part harmonisation published, for instance, in Vopelius' 1682 Neu Leipziger Gesangbuch, p.947.
- Cantata BWV 43, movement11: harmonisation by Christoph Peter[de] published in 1652, later adopted in Vopelius' Neu Leipziger Gesangbuch: "Ermuntre dich, mein schwacher Geist", p.70.
- Cantata BWV 8, movement6 (BWV 8/6): Daniel Vetter's four-part setting of "Liebster Gott, wann werd ich sterben", published in 1713.
Several more harmonisations stay close to the version published by Vopelius: for example "Christus, der ist mein Leben", BWV281, is a variant of the harmonisation found in the Neu Leipziger Gesangbuch, with added embellishments and the harmonic structure altered for one of the tune's four phrases.
Printed collections of Bach's harmonisations usually provide an alphabetical collation of the chorales, that is, ranged alphabetically by text incipit of the hymn. Some editions contain an alphabetical index at the end of the compilation, for instance at the end of the final volume of C.P.E. Bach's 18th-century collection. Other editions, such as the Breitkopf compilations of 1892 and 1899, present the chorales themselves in alphabetical order. However, not all of these alphabetical collations result in analogous chorale sequences. Some major differences in this respect result from chorales that are known by different names: in that case it depends on the editor which name is used for the collation. For example, the melody of "Ach, lieben Christen, seid getrost" also being known as "Wo Gott der Herr nicht bei uns hält" it is an editor's discretion whether BWV256 is found early on or near the end of an alphabetically sorted collection.
18th century
Some of Bach's voice and thoroughbass settings published in Georg Christian Schemelli's 1736 Musicalisches Gesang-Buch are better known in their four-part realisation included in the chorale harmonisation collections.
Chorales published by Birnstiel (200)
In 1765 F. W. Birnstiel published 100 chorales in Berlin. The edition had been initiated by F.W. Marpurg and completed, edited and supplemented with a preface and a list of errata by C.P.E. Bach. A second volume of 100 was issued by the same publisher in 1769, edited by J.F. Agricola. C.P.E. Bach criticised this publication as being full of mistakes in an article which was published in Hamburg in the Staats- und Gelehrte Zeitung des Hamburgischen unpartheyeschen Correspondenten on 30May 1769, in which he also claimed that some of the chorale harmonisations included in the volume had not been composed by his father.
C.P.E. Bach's edition for Breitkopf (371)
After Kirnberger died in 1783, C.P.E. Bach became Breitkopf's editor for the chorales, which he then published in four parts: Vol.I (1784): Nos. 1–96 Vol.II (1785): Nos. 97–194 Vol.III (1786): Nos. 195–283 Vol.IV (1787): Nos. 283–370
Since the number 283 was used twice (last number of Vol.III and first number of Vol.IV), the collection actually contained 371 items. The collection also contained several doubles (e.g. No.156 is identical to No.307): it totalled 348 independent harmonisations.
19th century
C.P.E. Bach's selection of 371 chorale harmonisations was republished a few times in the 19th century, for instance by Carl Ferdinand Becker in 1832 (third edition), and by Alfred Dörffel in 1870.
Bach Gesellschaft (larger vocal works + 3 + 185)
The Bach-Gesellschaft Ausgabe (BGA, Bach Gesellschaft edition) kept the chorale settings that were part of a larger vocal work (cantata, motet, Passion or oratorio) together with these larger vocal works and added the Three Wedding Chorales to its 13th volume containing wedding cantatas. The remaining separate four-part chorales, purged from doubles, were ordered alphabetically and numbered from 1 to 185 in the 39th volume which was published in 1892.
Richter's edition for Breitkopf (389)
In the late 19th century Bernhard Friedrich Richter collected all straightforward chorale harmonisations that had appeared in the BGA edition —including as well the separate ones as those from larger vocal works—, added a "Herr Gott, dich loben alle wir" harmonisation from a variant version of Cantata130, and numbered all of these chorales in alphabetical order. The set contained a few doubtful and spurious settings (e.g. from Telemann cantatas which at the time were still attributed to Bach), but four-part settings which were part of a more complex texture (e.g. the fifth movement of Cantata22 where the vocal homophony is supplemented by instrumental figuration) were not always included by Richter. The set was published by Breitkopf as Joh. Seb. Bach: 389 Choral-Gesänge für gemischten Chor in 1899.
20th century
The Bach-Werke-Verzeichnis, published in 1950, did not assign a separate BWV number to harmonisations contained in extant larger vocal works such as cantatas and Passions. The Three Wedding Chorales were assigned the numbers 250 to 252, and the 185 (+1: see below) four-part chorales contained in Vol.39 of the BGA edition were given, in the same order, the numbers 253 to 438.
Terry (405)
Published in 1929, Charles Sanford Terry's J. S. Bach's Four-Part Chorales contains 405 chorale harmonisations and 95 melodies with figured bass. The collection was reprinted 1964, with a foreword by Walter Emery.
Riemenschneider (371)
Albert Riemenschneider's collection of 371 chorales was published in 1941. It contained the same 371 settings as the C.P.E. Bach edition for Breitkopf, but with a few differences in the collation. In some cases Riemenschneider restored some information about obbligato instrumental parts based on extant larger works, e.g. his No.270 from cantata BWV 161, or about the continuo bass line if this does not exactly coincide with the vocal bass, e.g. his No.29 from cantata BWV 32 and his No.35 from the Christmas Oratorio. Riemenschneider did however not restore original keys to the extant larger works, but instead kept the chorales in the keys as they had been published in the Breitkopf collection, e.g. his No.22, in E-flat major, comes from cantata BWV 180 where it is in Fmajor. At times the key signature in Riemenschneider's edition does not correspond to the key,[clarification needed] for instance No.19, in Gminor but written with a "Dorian" G key signature. This too is presumably[speculation?] reproduced from the Breitkopf edition, which would have followed a common 17th- and 18th-century practice.
Editio Musica Budapest (388)
Editio Musica Budapest (EMB) published Imre Sulyok's edition of 388 chorale harmonisations in 1982. With a few differences (e.g. a de-doubling of the near-identical BWV 253 and 414, and some differences in the collation) the collection is largely comparable to the Richter edition.
Kalmus (389)
Kalmus republished the 389 chorales of Richter's collection.
NBA
The New Bach Edition published the Three Wedding Chorales and the four-part chorales contained in the Dietel collection in 1991 (SeriesIII, Vol.2/1). The chorales from C.P.E. Bach's collection were published in 1996 (SeriesIII, Vol.2/2). Vol.3 of the same series, published in 2002, contains a few chorales of doubtful authenticity found in other manuscripts and early editions. Vol.9 of the second series, published in 2000, contains a few doubtful chorales found in various Passions. Better known chorale harmonisations are also contained in other volumes of series I (cantatas), II (Passions and oratorios) and V (e.g. BWV299 as contained in the Notebook for Anna Magdalena Bach).
21st century
Czarnecki (413)
Christopher Czarnecki (editor). J.S. Bach 413 Chorales. SeeZar Publications, 2014. ISBN0989087913
Dahn (420)
Luke Dahn (editor). J.S. Bach Chorales: a new critical and complete edition arranged by BWV catalogue number with text and historical contextual information included for each chorale with numerous indices included in the appendix. LuxSitPress, 2017.
Chorale harmonisations in various collections
Most of Bach's known chorale harmonisations are movements in his extant cantatas, motets, Passions and oratorios. These are compositions which have a BWV number ranging from 1 to 249. BWV 250 to 438 is the range of the separate four-part chorales. Chorale harmonisations with a number above 438 are mostly later additions to the BWV catalogue. The 5th chapter of the 1998 edition of the Bach-Werke-Verzeichnis (BWV2a) contains the chorales BWV250–438, and some later additions (BWV500a, 1084, 1089 and 1122–1126).
Numbering conventions
All BWV numbers used in the listings below are according to the latest version of the Bach-Werke-Verzeichnis and further updates of these numbers found at the Bach Digital website. When a BWV number is followed by a slash ("/"), the number or letter after that slash indicates the movement in the composition.
Settings from Schemellis Gesangbuch are indicated by their BWV number (BWV 439–507), by the number of the hymn in the original publication (Nos.1–954), and, between brackets, the number of the setting in Vol.39 of the BGA edition (1–69).
A cross-reference between Lutheran hymns, their Zahn number, and their appearance in compositions by Bach (including, but not limited to, the chorale harmonisations) can be found pp.471–481 of BWV2a.
| column | content | |
|---|---|---|
| 1 | Chorale text | Text incipit of the harmonised hymn. Information regarding which part of the hymn Bach used is given in parentheses, typically verse numbers indicated by "v." Hymn titles without such information as in (untexted) chorale harmonisation collections. |
| 2 | Zahn | Zahn number of the chorale melody. When the data in the Zahn column starts with N that refers to "Nachtrag von vier Melodien" (supplement of four melodies), pp.566–568 in Zahn's 1893 last volume: the number after the slash refers to the place of the melody in this sequence of four. |
| 3 | BWV | Sorted by BWV number, the table has these subdivisions: BWV1–197a: from church cantatas, Ascension Oratorio BWV226–229: from motets BWV244–244b: from St Matthew Passion BWV245: from St John Passion BWV248: from Christmas Oratorio BWV250–252: Three Wedding Chorales BWV253–438: 186 four-part chorales in BGA Vol.39 BWV441*–deest: Other chorale harmonisations |
| 4 | 389 | Number of the chorale setting in Richter's 19th-century compilation of chorale harmonisations. These are also known as Kalmus numbers while that publisher reissued Richter's compilation of 389 chorales. Richter/Kalmus Nos.130, 219 and 387 are not included in the table: see "In church cantatas" section below. |
| 5 | CPE | Numbers as in C.P.E. Bach's 18th-century publication of his father's chorales. The two No.283 chorales are distinguished as "283" for the one included in Vol.III, and "283bis" for the one included in Vol.IV. |
| 6 | Rie. | Numbers as in Riemenschneider's 1941 publication of the chorales. |
| 7 | Notes | External links in this column go to chorale pages at Luke Dahn's website. |
| 8 | BC F | Bach Compendium (BC) seriesF; external links in this column go to the Bach Digital Work page about the chorale |
In larger vocal works
More than 200 of Bach's over 400 homophonic chorale harmonisations survived in his larger vocal works.
In church cantatas
Four-part chorales also appearing as cantata movements composed by Johann Sebastian Bach (verse incipits, and their translations by Pamela Dellal, from the Emmanuel Music website unless otherwise indicated): BWV1/6: "Wie bin ich doch so herzlich froh" ("How happy I am", v.7 of "Wie schön leuchtet der Morgenstern") • 2/6: "Das wollst du, Gott, bewahren rein" ("This, God, you would keep pure", v.6 of Ach Gott, vom Himmel sieh darein") • 3/6: "Erhalt mein Herz im Glauben rein" ("If my heart remains pure in faith", v.18 of "Ach Gott, wie manches Herzeleid") • 4/8 • 5/7 • 6/6 • 7/7 • 9/7 • 10/7 • 12/7 • 13/6 • 14/5 • 16/6 • 17/7 • 18/5 • 19/7 • 20/7=/11 • 22/5 • 24/6 • 25/6 • 26/6 • 28/6 • 29/8 • 30/6 • 31/9 • 32/6 • 33/6 • 36/4 and /8 • 37/6 • 38/6 • 39/7 • 40/3, /6 and /8 • 41/6 • 42/7 • 44/7 • 45/7 • 46/6 • 47/5 • 48/3 and /7 • 52/6 • 55/5 • 56/5 • 57/8 • 59/3 • 60/5 • 62/6 64. • 64/2, /4 and /8 • 65/2 and /7 • 66/6 • 67/4 and /7 • 69/6 • 69a/6 • 70/7 and /11 • 72/6 • 73/5 • 74/8 • 75/7=/14 • 76/7=/14 • 77/6 • 78/7 79. • 79/3 and /6 • 80/8 • 81/7 • 83/5 • 84/5 • 85/6 • 86/6 • 87/7 • 88/7 • 89/6 • 90/5 • 91/6 • 92/9 • 93/7 • 94/8 • 95/1 (extract: 282) and /7 • 96/6 • 97/9 • 99/6 • 100/6 • 101/7 • 102/7 • 103/6 • 104/6 • 105/6 • 107/7 • 108/6 • 110/7 • 111/6 • 112/5 • 113/1 and /8 • 114/7 • 115/6 • 116/6 • 117/4=/9 • 119/9 • 120/6 • 120a/8 • 121/6 • 122/6 • 123/6 • 124/6 • 125/6 • 126/6 • 127/5 • 128/5 • 129/5 • 130/6 • 133/6 • 135/6 • 136/6 • 137/5 • 139/6 • 140/7 • 144/3 and /6 • 145/a and /5 • 146/8 • 147/6=/10 • 148/6 • 149/7 • 151/5 153. • 153/1, /5 and /9 • 154/3 and /8 • 155/5 • 156/6 • 157/5 • 158/4 • 159/5 • 161/6 • 162/6 • 164/6 • 165/6 • 166/6 • 167/5 • 168/6 • 169/7 • 171/6 • 172/6 • 174/5 • 175/7 • 176/6 • 177/5 • 178/7 • 179/6 • 180/7 • 183/5 • 184/5 • 185/6 • 187/7 • 188/6 • 190/7 • 194/6 and /12 • 195/6 • 197/5 and /10 • 197a/7 (≈398)
Spurious chorale harmonisations in Bach's autographs: BWV8/6 • 27/6 (=Anh.170) • 43/11
Chorale harmonisations from spurious or doubtful cantatas (or: cantata versions) in the Richter/Kalmus collection of 389 chorale harmonisations: No.130: BWVAnh.31: "Herr Gott, dich loben alle wir"[scores] from a doubtful version of BWV 130 • No.219: BWV 218/5 = TWV1:634/5: "Komm, Gott Schöpfer, Heiliger Geist", by Telemann • No.387: BWV 219/5 = TWV1:1328/5: "Wo Gott der Herr nicht bei uns hält", by Telemann
In motets
Chorale harmonisations appearing in Bach's motets: BWV226/2 • 227/1=/11, /3 (SSATB) and /7 • 229/2
In Passions
In St Matthew Passion
Four-part chorales appearing in the St Matthew Passion: BWV244/3, /10, /15≈/17, /25, /32, /37, /40, /44, /46, /54 and /62 • 244b/29
In St John Passion
Four-part chorales appearing in the St John Passion: BWV245/3, /5 (=BWV416), /11, /14, /15, /17, /22, /26, /28, /37 and /40
In St Mark Passion pasticcio
For his own performances of the Jesus Christus ist um unsrer Missetat willen verwundet Passion Bach composed and/or reworked a few of its chorales: No.9b: "So gehst du nun, mein Jesu" (BWV 500a) • No.14: "Ohilf Christe, Gottes Sohn" (BWV 1084) • No.29: "OTraurigkeit, oHerzeleid" (BWVdeest)
In oratorios
Ascension Oratorio
Four-part chorale appearing in the Ascension Oratorio: BWV11/6
Christmas Oratorio
Four-part chorales in Bach's Christmas Oratorio, BWV248: PartI/5 and /9 • II/3, /8 and /14 • III/5, /10 and /12 • IV/7 • V/4 and /11 • VI/6 and /11
In chorale collections
Somewhat less than 200 of Bach's chorale harmonisations only survived in early collections containing multiple, usually short, works.
Three Wedding Chorales , BWV 250–252
- BWV250: "Was Gott tut, das ist wohlgetan"
- BWV251: "Sei Lob und Ehr dem höchsten Gut"
- BWV252: "Nun danket alle Gott"
186 four-part chorales in BGA Vol. 39, BWV 253–438
The Bach Gesellschaft published 185 four-part chorales in the 39th volume of its complete Bach-edition. The BWV 253–438 range, which, in its original collation, was based on the BGA publication does however contain 186 chorales. The difference is that BWV279, (near-)identical to BWV 158/4, was not retained in the BGA set:
- BGA No.26 → "Christ lag in Todesbanden", BWV278
- not in BGA Vol.39: "Christ lag in Todesbanden", BWV279 (≈BWV158/4, in BGA Vol.32)
- BGA No.27 → "Christ unser Herr zum Jordan kam", BWV280
| column | content | |
|---|---|---|
| 01 | BWV | Bach-Werke-Verzeichnis (lit.'Bach-works-catalogue'; BWV) numbers. Anhang (Annex; Anh.) numbers are indicated as follows: preceded by I: in Anh.I (lost works) of BWV1 (1950 first edition of the BWV) preceded by II: in Anh.II (doubtful works) of BWV1 preceded by III: in Anh.III (spurious works) of BWV1 preceded by N: new Anh. numbers in BWV2 (1990) and/or BWV2a (1998) |
| 02 | 2a | Section in which the composition appears in BWV2a: Chapters of the main catalogue indicated by Arabic numerals (1-13) Anh. sections indicated by Roman numerals (I–III) Reconstructions published in the NBE indicated by "R" |
| 03 | Date | Date associated with the completion of the listed version of the composition. Exact dates (e.g. for most cantatas) usually indicate the assumed date of first (public) performance. When the date is followed by an abbreviation in brackets (e.g. JSB for Johann Sebastian Bach) it indicates the date of that person's involvement with the composition as composer, scribe or publisher. |
| 04 | Name | Name of the composition: if the composition is known by a German incipit, that German name is preceded by the composition type (e.g. cantata, chorale prelude, motet, ...) |
| 05 | Key | Key of the composition |
| 06 | Scoring | See scoring table below for the abbreviations used in this column |
| 07 | BG | Bach Gesellschaft-Ausgabe (BG edition; BGA): numbers before the colon indicate the volume in that edition. After the colon an Arabic numeral indicates the page number where the score of the composition begins, while a Roman numeral indicates a description of the composition in the Vorwort (Preface) of the volume. |
| 08 | NBE | New Bach Edition (German: Neue Bach-Ausgabe, NBA): Roman numerals for the series, followed by a slash, and the volume number in Arabic numerals. A page number, after a colon, refers to the "Score" part of the volume. Without such page number, the composition is only described in the "Critical Commentary" part of the volume. The volumes group Bach's compositions by genre: Cantatas (Vol.1–34: church cantatas grouped by occasion; Vol.35–40: secular cantatas; Vol.41: Varia)Masses, Passions, Oratorios (12 volumes)Motets, Chorales, Lieder (4 volumes)Organ Works (11 volumes)Keyboard and Lute Works (14 volumes)Chamber Music (5 volumes)Orchestral Works (7 volumes)Canons, Musical Offering, Art of Fugue (3 volumes)Addenda (approximately 7 volumes) |
| 09 | Additional info | may include: "after" – indicating a model for the composition "by" – indicating the composer of the composition (if different from Johann Sebastian Bach) "in" – indicating the oldest known source for the composition "pasticcio" – indicating a composition with parts of different origin "see" – composition renumbered in a later edition of the BWV "text" – by text author, or, in source Provenance of standard texts and tunes, such as Lutheran hymns and their chorale melodies, Latin liturgical texts (e.g. Magnificat) and common tunes (e.g. Folia), are not usually indicated in this column. For an overview of such resources used by Bach, see individual composition articles, and overviews in, e.g., Chorale cantata (Bach)#Bach's chorale cantatas, List of chorale harmonisations by Johann Sebastian Bach#Chorale harmonisations in various collections and List of organ compositions by Johann Sebastian Bach#Chorale Preludes. |
| 10 | BD | Bach Digital Work page |
| Voices (see also SATB) | ||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|
| a | A | b | B | s | S | t | T | v | V | |||
| alto (solo part) | alto (choir part) | bass (solo part) | bass (choir part) | soprano (solo part) | soprano (choir part) | tenor (solo part) | tenor (choir part) | voice (includes parts for unspecified voices or instruments as in some canons) | vocal music for unspecified voice type | |||
| Winds and battery (bold = soloist) | ||||||||||||
| Bas | Bel | Cnt | Fl | Hn | Ob | Oba | Odc | Tai | Tbn | Tdt | Tmp | Tr |
| bassoon (can be part of Bc, see below) | bell(s) (musical bells) | cornett, cornettino | flute (traverso, flauto dolce, piccolo, flauto basso) | natural horn, corno da caccia, corno da tirarsi, lituo | oboe | oboe d'amore | oboe da caccia | taille | trombone | tromba da tirarsi | timpani | tromba (natural trumpet, clarino trumpet) |
| Strings and keyboard (bold = soloist) | ||||||||||||
| Bc | Hc | Kb | Lu | Lw | Org | Str | Va | Vc | Vdg | Vl | Vne | |
| basso continuo: Vdg, Hc, Vc, Bas, Org, Vne and/or Lu | harpsichord | keyboard (Hc, Lw, Org or clavichord) | lute, theorbo | Lautenwerck (lute-harpsichord) | organ (/man. = manualiter, without pedals) | strings: VlI, VlII and Va | viola(s), viola d'amore, violetta | violoncello, violoncello piccolo | viola da gamba | violin(s), violino piccolo | violone, violone grosso |
| BWV | 2a | Date | Name | Key | Scoring | BG | NBE | Additional info | BD |
|---|---|---|---|---|---|---|---|---|---|
| 253 | 5. | 1750 orearlier | choralesetting "Ach bleib bei uns, Herr Jesu Christ" | Amaj. | SATB | 39: 177 | III/2.2: 101 | after Z 439; text by Calvisius; ↔ BWV 414 | |
| 254 | 5. | 1750 orearlier | choralesetting "Ach Gott, erhör mein Seufzen" | DDor. | SATB | 39: 177 | III/2.2: 105 | after Z 1831a; text by Schechs[wikisource:de] | |
| 255 | 5. | 1750 orearlier | choralesetting "Ach Gott und Herr" | Cmaj. | SATB | 39: 178 | III/2.2: 24 | after Z 4441a; text by Rutilius[de] | |
| 256 | 5. | 1750 orearlier | choralesetting "Ach lieben Christen, seid getrost" | Amin. | SATB | 39: 178 | III/2.2: 19 | after Z 4441a; text by Gigas | |
| 259 | 5. | 1750 orearlier | choralesetting "Ach, was soll ich Sünder machen" | Emin. | SATB | 39: 179 | III/2.2: 23 | after Z 3573b; text by Flittner[de] | |
| 260 | 5. | c.1735 orearlier | choralesetting "Allein Gott in der Höh sei Ehr" | Gmaj. | SATB | 39: 180 | III/2.1:9 III/2.2:147 | after Z 4457; text by Decius after Gloria | |
| 261 | 5. | 1750 orearlier | choralesetting "Allein zu dir, Herr Jesu Christ" | Bmin. | SATB | 39: 180 | III/2.2: 206 | after Z 7292b; text by Hubert | |
| 262 | 5. | 1750 orearlier | choralesetting "Alle Menschen müssen sterben" | Dmaj. | SATB | 39: 181 | III/2.2: 88 | after Pachelbel; text by Albinus, Rosenmüller | |
| 263 | 5. | 1750 orearlier | choralesetting "Alles ist an Gottes Segen" | Gmaj. | SATB | 39: 181 | III/2.2: 72 | after Z 3842f | |
| 264 | 5. | 1750 orearlier | choralesetting "Als der gütige Gott" | Gmaj. | SATB | 39: 182 | III/2.2: 91 | after Z 1646; text by Weiße | |
| 265 | 5. | 1750 orearlier | choralesetting "Als Jesus Christus in der Nacht" | DDor. | SATB | 39: 182 | III/2.2: 102 | after Z 258; text by Heermann | |
| 266 | 5. | 1750 orearlier | choralesetting "Als vierzig Tag nach Ostern warn" | Emin. | SATB | 39: 182 | III/2.2: 120 | after Z 1743; text by Herman | |
| 267 | 5. | c.1735 orearlier | choralesetting "An Wasserflüssen Babylon" | Gmaj. | SATB | 39: 183 | III/2.2: 4 | after Z 7663; text by Dachstein | |
| A♭Maj. | III/2.1:98 | ||||||||
| choralesetting "Ein Lämmlein geht und trägt | Gmaj. | 39: 183 | after Z 7663; text by Gerhardt | ||||||
| A♭Maj. | III/2.2: 180 | ||||||||
| 268 | 5. | 1750 orearlier | choralesetting "Auf, auf, mein Herz" | Gmaj. | SATB | 39: 184 | III/2.2: 70 | after Z 824; text by Birken | |
| 269 | 5. | 1750 orearlier | choralesetting "Aus meines Herzens Grunde" | Gmaj. | SATB | 39: 184 | III/2.2: 2 | after Z 5269; text by Niege[de] | |
| 270 | 5. | c.1735 orearlier | choralesetting "Befiehl du deine Wege" | Bmin. | SATB | 39: 185 | III/2.1:47 III/2.2:170 | after Z 5385a; text by Gerhardt | |
| 271 | 5. | c.1735 orearlier | choralesetting "Befiehl du deine Wege" | Bmin. | SATB | 39: 185 | III/2.1:97 III/2.2:210 | after Z 5385a; text by Gerhardt | |
| 272 | 5. | 1730–1761 | choralesetting "Befiehl du deine Wege" | Dmin. | SATB | 39: 186 | III/2.2: 196 | by Bach, C.P.E.?; after Z5393; text by Gerhardt | |
| 273 | 5. | 1750 orearlier | choralesetting "Christ, der du bist der helle Tag" | Gmin. | SATB | 39: 186 | III/2.2: 136 | after Z 384; text by Alberus | |
| 274 | 5. | 1750 orearlier | choralesetting "Christe, der du bist Tag und Licht" | Gmin. | SATB | 39: 187 | III/2.2: 145 | after Z 343; text by Musculus after "Christe qui lux es" | |
| 275 | 5. | 1750 orearlier | choralesetting "Christe, du Beistand" | DDor. | SATB | 39: 187 | III/2.2: 122 | after Z 993; text by Löwenstern | |
| 276 | 5. | 1750 orearlier | choralesetting "Christ ist erstanden" | DDor. | SATB | 39: 188 | III/2.2: 110 | after Z 8584; text: "Christ ist erstanden" | |
| 277 | 5. | 1750 orearlier | choralesetting "Christ lag in Todesbanden" | DDor. | SATB | 39: 189 | III/2.2: 11 | after Z 7012a; text by Luther | |
| 278 | 5. | c.1735 orearlier | choralesetting "Christ lag in Todesbanden" | Emin. | SATB | 39: 190 | III/2.1:92 III/2.2:212 | after Z 7012a; text by Luther | |
| 279 | 5. | c.1725–1735 | choralesetting "Christ lag in Todesbanden" | Emin. | SATB | 32: 154 | III/2.1:24 III/2.2:155 | after Z 7012a; text by Luther; ↔ BWV 158/4 | |
| 280 | 5. | 1750 orearlier | choralesetting "Christ unser Herr zum Jordan kam" | DDor. | SATB | 39: 190 | III/2.2: 36 | after Z 7246; text by Luther | |
| 281 | 5. | 1750 orearlier | choralesetting "Christus, der ist mein Leben" | Fmaj. | SATB | 39: 191 | III/2.2: 6 | after Z 132, Neu Leipziger GB, p942 | |
| 282 | 5. | 1750 orearlier | choralesetting "Christus, der ist mein Leben" | Gmaj. | SATB | 39: 191 | III/2.2: 184 | after BWV 95/1 | |
| 283 | 5. | 1750 orearlier | choralesetting "Christus, der uns selig macht" | Amin. | SATB | 39: 192 | III/2.2: 112 | after Z 6283a; text by Weiße after "Patris sapientia" | |
| 284 | 5. | 1750 orearlier | choralesetting "Christus ist erstanden, hat überwunden" | Cmaj. | SATB | 39: 192 | III/2.2: 113 | after Z 6240b; text by Weiße | |
| 285 | 5. | 1750 orearlier | choralesetting "Da der Herr Christ zu Tische saß" | Cmin. | SATB | 39: 193 | III/2.2: 110 | after Z 2503; text by Herman | |
| 286 | 5. | 1750 orearlier | choralesetting "Danket dem Herrn, denn er ist" | Amin. | SATB | 39: 193 | III/2.2: 134 | after Z 12; text by Horn[de] | |
| 287 | 5. | 1750 orearlier | choralesetting "Dank sei Gott in der Höhe" | Fmaj. | SATB | 39: 194 | III/2.2: 182 | after Z 5391; text by Mühlmann[de] | |
| 288 | 5. | c.1735 orearlier | choralesetting "Das alte Jahr vergangen ist" | DDor. | SATB | 39: 194 | III/2.1:11 III/2.2:93 | after Z 381; text by Steuerlein[de] | |
| 289 | 5. | 1750 orearlier | choralesetting "Das alte Jahr vergangen ist" | Emin. | SATB | 39: 194 | III/2.2: 183 | after Z 381; text by Steuerlein[de] | |
| 290 | 5. | 1750 orearlier | choralesetting "Das walt Gott Vater und Gott Sohn" | Fmaj. | SATB | 39: 195 | III/2.2: 132 | after Z 673; text by Behm | |
| 291 | 5. | 1750 orearlier | choralesetting "Das walt mein Gott" | Dmin. | SATB | 39: 195 | III/2.2: 42 | after Z 4217; text by Förtsch[wikisource:de]? | |
| 292 | 5. | 1750 orearlier | choralesetting "Den Vater dort oben" | Cmaj. | SATB | 39: 196 | III/2.2: 141 | after Z 4795; text by Weiße | |
| 293 | 5. | 1750 orearlier | choralesetting "Der du bist drei in Einigkeit" | DDor. | SATB | 39: 196 | III/2.2: 89 | after Z 335e; text by Luther after "O lux beata Trinitas" | |
| 294 | 5. | 1750 orearlier | choralesetting "Der Tag, der ist so freudenreich" | Gmaj. | SATB | 39: 197 | III/2.2: 90 | after Z 7870; text after "Dies est laetitiae" | |
| 295 | 5. | 1750 orearlier | choralesetting "Des Heilgen Geistes reiche Gnad" | Dmin. | SATB | 39: 197 | III/2.2: 120 | after Z 370b; text by Gesius after "Spiritus Sancti gratia" | |
| 296 | 5. | 1750 orearlier | choralesetting "Die Nacht ist kommen" | GMix. | SATB | 39: 198 | III/2.2: 136 | after Z 5001; text by Herbert[de] | |
| 297 | 5. | 1750 orearlier | choralesetting "Die Sonn hat sich mit ihrem Glanz gewendet" | DDor. | SATB | 39: 198 | III/2.2: 137 | after Z 923; text by Stegmann[de]; ↔ BWV 447 | |
| 298 | 5. | 1750 orearlier | choralesetting "Dies sind die heilgen zehn Gebot" | Cmaj. | SATB | 39: 198 | III/2.2: 72 | after Z 1951; text by Luther | |
| 299 [2] | 5. | 1725–1735 | choralesetting "Dir, dir, Jehova, will ich singen" | B♭maj. | SATB | 39: 199 | III/2.1:11 III/2.2:121 | ↔ Z 3068; text by Crasselius; → BWV 452 | |
| 299 [1] | Notebook A. M. Bach (1725) No.39: choralesetting "Dir, dir, Jehova, will ich singen" | S(AT)B (V Bc) | 432:50 | V/4: 126 | |||||
| 300 | 5. | 1750 orearlier | choralesetting "Du großer Schmerzensmann" | Emin. | SATB | 39: 199 | III/2.2: 94 | after Z 5159a; text by Thebesius[de] | |
| 301 | 5. | 1750 orearlier | choralesetting "Du, o schönes Weltgebäude" | Dmin. | SATB | 39: 200 | III/2.2: 80 | after Z 6773; text by Franck, J. | |
| 302 | 5. | c.1735 orearlier | choralesetting "Ein feste Burg ist unser Gott" | Dmaj. | SATB | 39: 200 | III/2.1:48 III/2.2:14 | after Z 7377; text by Luther after Ps.46 | |
| 303 | 5. | c.1735 orearlier | choralesetting "Ein feste Burg ist unser Gott" | Dmaj. | SATB | 39: 201 | III/2.1:10 III/2.2:148 | after Z 7377; text by Luther after Ps.46 | |
| 304 | 5. | c.1735 orearlier | choralesetting "Eins ist not, ach Herr, dies Eine" | Dmaj. | SATB | 39: 201 | III/2.1:36 III/2.2:166 | after Z 7127; text by Schröder | |
| 305 | 5. | 1750 orearlier | choralesetting "Erbarm dich mein, o Herre Gott" | Amin. | SATB | 39: 202 | III/2.2: 20 | after Z 5851; text by Hegenwald after Ps. 51 | |
| 306 | 5. | 1750 orearlier | choralesetting "Erstanden ist der heilig Christ" | Fmaj. | SATB | 39: 202 | III/2.2: 100 | after Z 288; text after "Surrexit Christus hodie" | |
| 307 | 5. | c.1735 orearlier | choralesetting "Es ist gewisslich an der Zeit" | B♭maj. | SATB | 39: 203 | III/2.1:22 III/2.2:155 | after Z 4429a; text by Ringwaldt | |
| 308 | 5. | 1750 orearlier | choralesetting "Es spricht der Unweisen Mund wohl" | B♭maj. | SATB | 39: 204 | III/2.2: 17 | after Z 4436; text by Luther after Ps.14 | |
| 309 | 5. | 1750 orearlier | choralesetting "Es stehn vor Gottes Throne" | GDor. | SATB | 39: 204 | III/2.2: 95 | after Z 4298; text by Helmbold | |
| 310 | 5. | 1750 orearlier | choralesetting "Es wird schier der letzte Tag herkommen" | Emin. | SATB | 39: 205 | III/2.2: 140 | after Z 1423; text by Weiße | |
| 311 | 5. | 1750 orearlier | choralesetting "Es woll uns Gott gnädig sein" | Bmin. | SATB | 39: 205 | III/2.2: 12 | after Z 7247; text by Luther after Ps.67 | |
| 312 | 5. | c.1735 orearlier | choralesetting "Es woll uns Gott gnädig sein" | Amin. | SATB | 39: 206 | III/2.1:70 III/2.2:202 | after Z 7247; text by Luther after Ps.67 | |
| 327 | 5. | 1750 orearlier | choralesetting "Vor deinen Thron tret ich hiermit" | Dmaj. | SATB | 39: 213 | III/2.2: 193 | after Z 368; text by Hodenberg? | |
| 313 | 5. | 1750 orearlier | choralesetting "Für Freuden lasst uns springen" | Gmin. | SATB | 39: 206 | III/2.2: 93 | after Z 2339; text by Peltsch[fr] | |
| 314 | 5. | c.1735 orearlier | choralesetting "Gelobt seist du, Jesu Christ" | Dmaj. | SATB | 39: 207 | III/2.1:48 III/2.2:171 | after Z 1947; text by Luther | |
| 315 | 5. | c.1735 orearlier | choralesetting "Gib dich zufrieden und sei stille" | Emin. | SATB | 39: 207 | III/2.1:38 III/2.2:161 | after BWV 511; text by Gerhardt; ↔ BWV 512, Z7417a | |
| 316 | 5. | 1750 orearlier | choralesetting "Gott, der du selber bist das Licht" | Gmin. | SATB | 39: 208 | III/2.2: 133 | after Z 5814; text by Rist | |
| 317 | 5. | 1750 orearlier | choralesetting "Gott der Vater wohn uns bei" | Dmaj. | SATB | 39: 208 | III/2.2: 78 | after Z 8507; text by Luther | |
| 318 | 5. | 1750 orearlier | choralesetting "Gottes Sohn ist kommen" | Gmaj. | SATB | 39: 209 | III/2.2: 13 | after Z 3294; text by Horn[de] | |
| Fmaj. | III/2.2: 214 | ||||||||
| 319 | 5. | 1750 orearlier | choralesetting "Gott hat das Evangelium" | Emin. | SATB | 39: 209 | III/2.2: 102 | after Z 1788; text by Alberus | |
| 320 | 5. | 1750 orearlier | choralesetting "Gott lebet noch" | Fmaj. | SATB | 39: 210 | III/2.2: 138 | after Z 7951; text by Zihn[de]; ↔ BWV 461 | |
| 321 | 5. | 1750 orearlier | choralesetting "Gottlob, es geht nunmehr zum Ende" | B♭maj. | SATB | 39: 210 | III/2.2: 108 | after Z 2853; → Z2855; text by Luther | |
| 322 | 5. | 1750 orearlier | choralesetting "Gott sei gelobet und gebenedeiet" | Cmaj. | SATB | 39: 211 | III/2.2: 39 | after Z 8078; text by Luther | |
| 323 | 5. | 1750 orearlier | choralesetting "Gott sei uns gnädig und barmherzig" | F♯min. | SATB | 39: 212 | III/2.2: 186 | after German Magnificat; text after Ps.67 | |
| 325 | 5. | 1750 orearlier | choralesetting "Heilig, heilig, heilig" | Fmaj. | SATB | 39: 212 | III/2.2: 138 | after Z 8633a; text after Sanctus; ↔ Z8634 | |
| choralesetting "Sanctus, Sanctus Dominus Deus" | after Z 8633a; text: Sanctus; ↔ Z8634 | ||||||||
| 326 | 5. | 1750 orearlier | choralesetting "Herr Gott, dich loben alle wir" | B♭maj. | SATB | 39: 213 | III/2.2: 96 | after Z 368; text by Eber | |
| 328 | 5. | 1750 orearlier | choralesetting "Herr Gott, dich loben wir" | Amin. | SATB | 39: 214 | III/2.2: 117 | after Z 8652; text by Luther after Te Deum | |
| 329 | 5. | 1750 orearlier | choralesetting "Herr, ich denk an jene Zeit" | B♭maj. | SATB | 39: 216 | III/2.2: 123 | after Z 4840; text by Mylius[de] | |
| 330 | 5. | 1750 orearlier | choralesetting "Herr, ich habe missgehandelt" | Amin. | SATB | 39: 216 | III/2.2: 21 | after Z 3695; text by Franck, J. | |
| 331 | 5. | c.1735 orearlier | choralesetting "Herr, ich habe missgehandelt" | Amin. | SATB | 39: 217 | III/2.1:47 III/2.2:171 | after Z 3695; text by Franck, J. | |
| 332 | 5. | 1750 orearlier | choralesetting "Herr Jesu Christ, dich zu uns wend" | Gmaj. | SATB | 39: 217 | III/2.2: 79 | after Z 624; text by William of Saxe-Weimar | |
| 333 | 5. | 1750 orearlier | choralesetting "Herr Jesu Christ, du hast bereit'" | Gmin. | SATB | 39: 218 | III/2.2: 133 | after Z 4711; text by Kinner[de] | |
| 334 | 5. | c.1735 orearlier | choralesetting "Herr Jesu Christ, ich schrei zu dir" | Gmin. | SATB | III/2.1:43 | after Z 4486 | ||
| choralesetting "Herr Jesu Christ, du höchstes Gut" | 39: 218 | III/2.2: 41 | after Z 4486; text by Ringwaldt | ||||||
| 335 | 5. | c.1735 orearlier | choralesetting "Herr Jesu Christ, meins Lebens Licht" | Emin. | SATB | 39: 218 | III/2.1:60 III/2.2:175 | after Z 423; text by Behm | |
| choralesetting "O Jesu, du mein Bräutigam" | III/2.2:139 | after Z 423; text by Hermann | |||||||
| 336 | 5. | 1750 orearlier | choralesetting "Herr Jesu Christ, wahr' Mensch und Gott" | Amaj. | SATB | 39: 219 | III/2.2: 106 | after Z 423; text by Eber | |
| 337 | 5. | 1750 orearlier | choralesetting "Herr, nun lass in Friede" | Amin. | SATB | 39: 219 | III/2.2: 107 | after Z 3302; text by Behme[de] | |
| 338 | 5. | 1750 orearlier | choralesetting "Herr, straf mich nicht in deinem Zorn, das bitt" | Amin. | SATB | 39: 220 | III/2.2: 131 | after Z 4606a; text after Ps.6 | |
| 339 | 5. | 1750 orearlier | choralesetting "Wer in dem Schutz des Höchsten ist" | Amaj. | SATB | 39: 220 | III/2.2: 84 | after Z 4438; text by Heyden | |
| choralesetting "Herr, wie du willt, so schicks mit mir" | after Z 4438; text by Bienemann[de] | ||||||||
| 340 | 5. | c.1735 orearlier | choralesetting "Herzlich lieb hab ich dich, o Herr" | Cmaj. | SATB | 39: 221 | III/2.1:42 III/2.2:164 | after Z 8326; text by Schalling | |
| 341 | 5. | 1750 orearlier | choralesetting "Heut ist, o Mensch, ein großer Trauertag" | GDor. | SATB | 39: 221 | III/2.2: 96 | after Z 8569/A; text by Löwenstern | |
| 342 | 5. | 1750 orearlier | choralesetting "Heut triumphieret Gottes Sohn" | Amin. | SATB | 39: 222 | III/2.2: 44 | after Z 2585; text by Stolzhagen[de] | |
| 343 | 5. | 1750 orearlier | choralesetting "Hilf, Gott, dass mirs gelinge" | GDor. | SATB | 39: 222 | III/2.2: 112 | after Z 4329f; text by Müller, H. | |
| 344 | 5. | 1750 orearlier | choralesetting "Hilf, Herr Jesu, lass gelingen" | GDor. | SATB | 39: 223 | III/2.2: 89 | after Z 3687a; text by Rist | |
| 345 | 5. | c.1735 orearlier | choralesetting "Ich bin ja, Herr, in deiner Macht" | Gmin. | SATB | 39: 223 | III/2.1:13 III/2.2:148 | ↔ Z 5878a; text by Dach | |
| 346 | 5. | 1750 orearlier | choralesetting "Ich dank dir, Gott, für deine Wohltat" | Cmaj. | SATB | 39: 224 | III/2.2: 132 | after Z 8090; text by Freder[de] | |
| 347 | 5. | 1750 orearlier | choralesetting "Ich dank dir, lieber Herre" | Amaj. | SATB | 39: 224 | III/2.2: 2 | after Z 5354a–b; text by Kolross | |
| 348 | 5. | c.1735 orearlier | choralesetting "Ich dank dir, lieber Herre" | B♭maj. | SATB | 39: 225 | III/2.1:39 III/2.2:162 | after Z 5354a–b; text by Kolross | |
| 349 | 5. | 1750 orearlier | choralesetting "Ich dank dir schon durch deinen Sohn" | Fmaj. | SATB | 39: 225 | III/2.2: 106 | after Z 247b; text by Burchart[de] | |
| 350 | 5. | 1750 orearlier | choralesetting "Ich danke dir, Herr Gott, in deinem Throne" | Gmin. | SATB | 39: 226 | III/2.2: 135 | after Z 3199; text by Fabricius[de] | |
| 351 | 5. | 1750 orearlier | choralesetting "Ich hab mein Sach Gott heimgestellt" | GDor. | SATB | 39: 226 | III/2.2: 13 | after Z 1679; text by Leon[de] | |
| 366 | 5. | 1750 orearlier | choralesetting "Ihr Gestirn, ihr hohlen Lüfte" | Dmin. | SATB | 39: 236 | III/2.2: 92 | after Z 3703; text by Franck, J. | |
| 367 | 5. | 1750 orearlier | choralesetting "In allen meinen Taten" | Cmaj. | SATB | 39: 236 | III/2.2: 81 | after Z 2276; text by Fleming | |
| 368 | 5. | 1750 orearlier | choralesetting "In dulci jubilo" | Fmaj. | SATB | 39: 236 | III/2.2: 83 | after Z 4947 | |
| 352 | 5. | 1750 orearlier | choralesetting "Jesu, der du meine Seele" | Amin. | SATB | 39: 227 | III/2.2: 22 | after Z 6804; text by Rist | |
| 353 | 5. | c.1735 orearlier | choralesetting "Jesu, der du meine Seele" | Gmin. | SATB | 39: 228 | III/2.1:26 III/2.2:160 | after Z 6804; text by Rist | |
| 354 | 5. | c.1735 orearlier | choralesetting "Jesu, der du meine Seele" | B♭Dor. | SATB | 39: 228 | III/2.1:99 III/2.2:211 | after Z 6804; text by Rist | |
| 355 | 5. | 1750 orearlier | choralesetting "Jesu, der du selbsten wohl" | Amaj. | SATB | 39: 229 | III/2.2: 97 | after Z 6335; text by Bapzien[de] | |
| 356 | 5. | 1750 orearlier | choralesetting "Jesu, du mein liebstes Leben" | Gmin. | SATB | 39: 230 | III/2.2: 144 | after Z 7891; text by Rist | |
| 357 | 5. | 1750 orearlier | choralesetting "Jesu, Jesu, du bist mein" | CDor. | SATB | 39: 230 | III/2.2: 144 | ↔ BWV 470, Z6446 | |
| 358 | 5. | c.1735 orearlier | choralesetting "Jesu, meine Freude" | Dmin. | SATB | 39: 231 | III/2.1:80 III/2.2:204 | after Z 8032; text by Franck, J. | |
| 360 | 5. | c.1735 orearlier | choralesetting "Jesu, meiner Seelen Wonne" | B♭maj. | SATB | 39: 232 | III/2.1:73 III/2.2:201 | after Z 6551a; text by Janus | |
| 359 | 5. | 1750 orearlier | choralesetting "Jesu, meiner Seelen Wonne" | Amaj. | SATB | 39: 232 | III/2.2: 209 | after BWV 154/3; text by Janus | |
| 361 | 5. | c.1735 orearlier | choralesetting "Jesu, meines Herzens Freud" | B♭maj. | SATB | 39: 233 | III/2.1:34 III/2.2:157 | after Z 4797–4798; text by Flittner[de] | |
| 362 | 5. | c.1735 orearlier | choralesetting "Jesu, nun sei gepreiset" | B♭maj. | SATB | 39: 234 | III/2.1:12 III/2.2:149 | after Z 8477a; text by Hermann | |
| 364 | 5. | 1750 orearlier | choralesetting "Jesus Christus, unser Heiland, der den Tod überwand" | GDor. | SATB | 39: 235 | III/2.2: 99 | after Z 1978; text by Luther | |
| 363 | 5. | 1750 orearlier | choralesetting "Jesus Christus, unser Heiland, der von uns den Gottes Zorn wandt" | Emin. | SATB | 39: 234 | III/2.2: 19 | after Z 1576; text by Luther | |
| 365 | 5. | 1750 orearlier | choralesetting "Jesus, meine Zuversicht" | Cmaj. | SATB | 39: 235 | III/2.2: 100 | after Z 3432b; text by Louise Henriette of N | |
| 369 | 5. | 1750 orearlier | choralesetting "Keinen hat Gott verlassen" | Emin. | SATB | 39: 237 | III/2.2: 73 | after Z 5395 | |
| 370 | 5. | 1750 orearlier | choralesetting "Komm, Gott Schöpfer, Heiliger Geist" | Cmaj. | SATB | 39: 238 | III/2.2: 105 | after Z 295; text by Luther | |
| 371 | 5. | 1750 orearlier | choralesetting "Kyrie, Gott Vater in Ewigkeit" | Amin. | SATB | 39: 238 | III/2.2: 74 | after Z 8600c | |
| 372 | 5. | 1750 orearlier | choralesetting "Lass, o Herr, dein Ohr sich neigen" | GDor. | SATB | 39: 240 | III/2.2: 128 | after Z 6863; text by Opitz | |
| 373 | 5. | 1750 orearlier | choralesetting "Liebster Jesu, wir sind hier" | Gmaj. | SATB | 39: 240 | III/2.2: 74, 190 | after Z 3498b; text by Clausnitzer | |
| 374 | 5. | 1750 orearlier | choralesetting "Lobet den Herren, denn er ist sehr" | GDor. | SATB | 39: 241 | III/2.2: 134 | after Z 975; text after Ps.147 | |
| 375 | 5. | c.1735 orearlier | choralesetting "Lobt Gott, ihr Christen, allzugleich" | Gmaj. | SATB | 39: 241 | III/2.1:45 III/2.2:164 | after Z 198; text by Herman | |
| 376 | 5. | 1750 orearlier | choralesetting "Lobt Gott, ihr Christen allzugleich" | Amaj. | SATB | 39: 242 | III/2.2: 197 | after Z 198; text by Herman | |
| 377 | 5. | 1750 orearlier | choralesetting "Machs mit mir, Gott, nach deiner Güt" | Dmaj. | SATB | 39: 242 | III/2.2: 26 | after Z 2383; text by Schein | |
| 378 | 5. | 1750 orearlier | choralesetting "Mein Augen schließ ich jetzt" | Gmaj. | SATB | 39: 243 | III/2.2: 153 | after Z 1067; text by Löwenstern | |
| 379 | 5. | 1750 orearlier | choralesetting "Meinen Jesum lass ich nicht, Jesus" | Gmaj. | SATB | 39: 243 | III/2.2: 87 | after Z 3448a | |
| 380 | 5. | c.1735 orearlier | choralesetting "Meinen Jesum lass ich nicht, weil" | E♭maj. | SATB | 39: 244 | III/2.1:62 III/2.2:178 | after Z 3449; text by Keymann | |
| 324 | 5. | 1750 orearlier | choralesetting "Meine Seele erhebet den Herren" | Emin. | SATB | 39: 212 | III/2.2: 73 | after German Magnificat; text by Luther after Lk. 1:46–55 | |
| 381 | 5. | 1750 orearlier | choralesetting "Meines Lebens letzte Zeit" | Emin. | SATB | 39: 244 | III/2.2: 199 | after Z 6380; ↔ BWV 488 | |
| 382 | 5. | c.1735 orearlier | choralesetting "Mit Fried und Freud ich fahr dahin" | GDor. | SATB | 39: 245 | III/2.1:40 III/2.2:28 | after Z 3986; text by Luther | |
| 383 | 5. | 1750 orearlier | choralesetting "Mitten wir im Leben sind" | Amin. | SATB | 39: 246 | III/2.2: 124 | after Z 8502; text by Luther after Media vita | |
| 384 | 5. | 1750 orearlier | choralesetting "Nicht so traurig, nicht so sehr" | Cmin. | SATB | 39: 247 | III/2.2: 86 | ↔ Z 3355; text by Gerhardt | |
| 385 | 5. | c.1735 orearlier | choralesetting "Nun bitten wir den Heiligen Geist" | Amaj. | SATB | 39: 247 | III/2.1:76 III/2.2:22 | after Z 2029a; text by Luther | |
| 386 | 5. | c.1735 orearlier | choralesetting "Nun danket alle Gott" | Amaj. | SATB | 39: 248 | III/2.1:101 III/2.2:20 | after Z 5142; text by Rinkart | |
| 387 | 5. | 1750 orearlier | choralesetting "Nun freut euch, Gottes Kinder all" | DDor. | SATB | 39: 248 | III/2.2: 104 | after Z 364; text by Alberus | |
| 388 | 5. | 1750 orearlier | choralesetting "Nun freut euch, lieben Christen gmein" | Gmaj. | SATB | 39: 248 | III/2.2: 103 | after Z 4427; text by Luther | |
| 389 | 5. | c.1735 orearlier | choralesetting "Nun lob, mein Seel, den Herren" | Cmaj. | SATB | 39: 249 | III/2.1:32 III/2.2:159 | after Z 8244; text by Gramann after Ps. 103 | |
| 390 | 5. | c.1735 orearlier | choralesetting "Nun lob, mein Seel, den Herren" | Cmaj. | SATB | 39: 250 | III/2.1:58 III/2.2:176 | after Z 8244; text by Gramann after Ps. 103 | |
| 391 | 5. | 1750 orearlier | choralesetting "Nun preiset alle Gottes Barmherzigkeit" | Gmaj. | SATB | 39: 250 | III/2.2: 131 | after Z 4089a; text by Löwenstern | |
| 392 | 5. | 1734–1750 | choralesetting "Nun ruhen alle Wälder" | B♭maj. | SATB | 39: 251 | III/2.2: 172 | after BWV 97/9; text by Gerhardt | |
| 396 | 5. | 1750 orearlier | choralesetting "Nun sich der Tag geendet hat" | Amin. | SATB | 39: 252 | III/2.2: 142 | after Z 212b; text by Krieger | |
| 397 | 5. | c.1735 orearlier | choralesetting "O Ewigkeit, du Donnerwort" | Fmaj. | SATB | 39: 253 | III/2.1:23 III/2.2:163 | after Z 5820; text by Johann Rist; ↔ BWV 513 | |
| 398 | 5. | c.1728–1729 | choralesetting "O Gott, du frommer Gott" | Dmaj. | SATB | 39: 254 | III/2.2: 182 | after Z 5206b; text by Heermann; ↔ BWV 197a/7 | |
| 399 | 5. | 1750 orearlier | choralesetting "O Gott, du frommer Gott" | Gmaj. | SATB | 39: 254 | III/2.2: 184 | after Z 5148; text by Heermann | |
| 400 | 5. | 1750 orearlier | choralesetting "O Herzensangst" | E♭maj. | SATB | 39: 255 | III/2.2: 99 | ↔ Z 1003; text by Müller von Königsberg | |
| 401 | 5. | 1750 orearlier | choralesetting "O Lamm Gottes, unschuldig" | Fmaj. | SATB | 39: 255 | III/2.2: 94 | after Z 4361a; text by Decius after Agnus Dei | |
| 402 | 5. | 1750 orearlier | choralesetting "O Mensch, bewein dein Sünde groß" | E♭maj. | SATB | 39: 256 | III/2.2: 114 | after Z 8303; text by Heyden | |
| 403 | 5. | 1750 orearlier | choralesetting "O Mensch, schau Jesum Christum an" | GDor. | SATB | 39: 257 | III/2.2: 116 | after Z 3994a–b; text by Specht; ↔ Z3994c | |
| 404 | 5. | 1750 orearlier | choralesetting "O Traurigkeit, o Herzeleid" | Amin. | SATB | 39: 257 | III/2.2: 34 | after Z 1915; text by Rist | |
| Fmin. | III/2.2: 215 | ||||||||
| 393 | 5. | c.1735 orearlier | choralesetting "O Welt, sieh hier dein Leben" | Amaj. | SATB | 39: 251 | III/2.1:44 III/2.2:163 | after Z 2293b; text by Gerhardt | |
| 394 | 5. | c.1735 orearlier | choralesetting "O Welt, sieh hier dein Leben" | Amaj. | SATB | 39: 252 | III/2.1:96 III/2.2:210 | after Z 2293b; text by Gerhardt | |
| 395 | 5. | 1724–1750 | choralesetting "O Welt, sieh hier dein Leben" | Amaj. | SATB | 39: 252 | III/2.2: 208 | after BWV 245/11; text by Gerhardt | |
| 405 | 5. | 1750 orearlier | choralesetting "O wie selig seid ihr doch, ihr Frommen" | Dmin. | SATB | 39: 258 | III/2.2: 124 | after Z 1583; text by Dach; ↔ BWV 495 | |
| 406 | 5. | 1750 orearlier | choralesetting "O wie selig seid ihr doch, ihr Frommen" | Dmin. | SATB | 39: 258 | III/2.2: 129 | after Z 1581; text by Dach | |
| 407 | 5. | 1750 orearlier | choralesetting "O wir armen Sünder" | Dmaj. | SATB | 39: 258 | III/2.2: 114 | after Z 8187c; text by Bonnus[de] | |
| 408 | 5. | 1750 orearlier | choralesetting "Schaut, ihr Sünder" | GDor. | SATB | 39: 259 | III/2.2: 98 | after Z 8569/B; text by Löwenstern | |
| 409 | 5. | 1750 orearlier | choralesetting "Seelenbräutigam" | Amaj. | SATB | 39: 260 | III/2.2: 82, 216 | after Z 3255a–b; text by Drese; ↔ BWV 496 | |
| 410 | 5. | 1750 orearlier | choralesetting "Sei gegrüßet, Jesu gütig" | Gmin. | SATB | 39: 260 | III/2.2: 98 | after Z 3889b; text by Keymann; ↔ BWV 499 | |
| 411 | 5. | 1750 orearlier | choralesetting "Singt dem Herrn ein neues Lied" | Gmaj. | SATB | 39: 260 | III/2.2: 146 | after Z 6424; text by Löwenstern | |
| 412 | 5. | 1750 orearlier | choralesetting "So gibst du nun, mein Jesu, gute Nacht" | GDor. | SATB | 39: 261 | III/2.2: 119 | after Z 849; text by Pfeiffer[de]; ↔ BWV 501 | |
| 413 | 5. | 1750 orearlier | choralesetting "Sollt ich meinem Gott nicht singen" | Dmin. | SATB | 39: 262 | III/2.2: 130 | after Z 7886b; text by Gerhardt; ↔ BWV 481 | |
| 414 | 5. | 1750 orearlier | choralesetting "Uns ist ein Kindlein heut geborn" | Gmaj. | SATB | 39: 262 | III/2.2: 86 | after Z 439; ↔ BWV 253 | |
| 415 | 5. | 1750 orearlier | choralesetting "Valet will ich dir geben" | Dmaj. | SATB | 39: 263 | III/2.2: 16 | after Z 5404a; text by Herberger | |
| 416 | 5. | 1724-04-07 | choralesetting "Vater unser im Himmelreich" | Dmin. | SATB | 39: 263 | III/2.1:94 III/2.2:27 | after Z 2561; text by Luther after Mt6:9–13; ↔ BWV 245.1/5 | |
| 417 | 5. | c.1735 orearlier | choralesetting "Von Gott will ich nicht lassen" | Bmin. | SATB | 39: 264 | III/2.1:92 III/2.2:209 | after Z 5264b; text by Helmbold | |
| 418 | 5. | 1750 orearlier | choralesetting "Von Gott will ich nicht lassen" | Amin. | SATB | 39: 264 | III/2.2: 192 | after Z 5264b; text by Helmbold | |
| 419 | 5. | 1726–1761 (CPE) | choralesetting "Helft mir Gotts Güte preisen" | Amin. | SATB | 39: 265 | III/2.2: 64 | by Bach, C.P.E.; after BWV 16/6; text by Eber | |
| choralesetting "Von Gott will ich nicht lassen" | by Bach, C.P.E.; after BWV 16/6; text by Helmbold | ||||||||
| 257 | 5. | c.1735 orearlier | choralesetting "Wär Gott nicht mit uns diese Zeit" | Amin. | SATB | 39: 178 | III/2.1:46 III/2.2:170 | after Z 4441a; text by Luther after Ps. 124 | |
| 420 | 5. | 1750 orearlier | choralesetting "Warum betrübst du dich, mein Herz" | Amin. | SATB | 39: 265 | III/2.2: 84 | after Z 1689a | |
| 421 | 5. | c.1735 orearlier | choralesetting "Warum betrübst du dich, mein Herz" | Amin. | SATB | 39: 266 | III/2.1:65 III/2.2:178 | after Z 1689a; ↔ BWV 1164/2 | |
| 422 | 5. | c.1735 orearlier | choralesetting "Warum sollt ich mich denn grämen" | GMix. | SATB | 39: 266 | III/2.1:82 III/2.2:204 | after Z 6461; → Z6462; text by Gerhardt | |
| 423 | 5. | 1750 orearlier | choralesetting "Was betrübst du dich, mein Herze" | GDor. | SATB | 39: 267 | III/2.2: 140 | ↔ Z 6830; text by Herrmann[wikisource:de] | |
| 424 | 5. | 1750 orearlier | choralesetting "Was bist du doch, o Seele, so betrübet" | Amin. | SATB | 39: 267 | III/2.2: 108 | after Z 1837; text by Schultt, R.F.[scores]; ↔ BWV 506 | |
| 425 | 5. | 1750 orearlier | choralesetting "Was willst du dich, o meine Seele, kränken" | Amin. | SATB | 39: 268 | III/2.2: 142 | after Z 7844; text by Werder[de] | |
| 426 | 5. | 1750 orearlier | choralesetting "Weltlich Ehr und zeitlich Gut" | Cmaj. | SATB | 39: 269 | III/2.2: 122 | after Z 4972; text by Weiße | |
| 427 | 5. | 1750 orearlier | choralesetting "Wenn ich in Angst und Not" | E♭maj. | SATB | 39: 269 | III/2.2: 85 | after Z 4233; text by Löwenstern | |
| 428 | 5. | 1750 orearlier | choralesetting "Wenn mein Stündlein verhanden ist" | Gmaj. | SATB | 39: 270 | III/2.2: 187 | after Z 4482a; text by Herman | |
| 429 | 5. | c.1735 orearlier | choralesetting "Wenn mein Stündlein verhanden ist" | Amaj. | SATB | 39: 270 | III/2.1:91 III/2.2:29 | after Z 4482a; text by Herman | |
| 430 | 5. | c.1735 orearlier | choralesetting "Wenn mein Stündlein verhanden ist" | Amaj. | SATB | 39: 271 | III/2.1:68 III/2.2:201 | after Z 4482a; text by Herman | |
| 431 | 5. | 1750 orearlier | choralesetting "Wenn wir in höchsten Nöten sein" | Fmaj. | SATB | 39: 272 | III/2.2: 38 | after Z 394; text by Eber | |
| 432 | 5. | 1750 orearlier | choralesetting "Wenn wir in höchsten Nöten sein" | Gmaj. | SATB | 39: 272 | III/2.2: 146 | after Z 394; text by Eber | |
| 433 | 5. | 1750 orearlier | choralesetting "Wer Gott vertraut, hat wohl gebaut" | Gmaj. | SATB | 39: 273 | III/2.2: 78 | after Z 8207; text by Magdeburg[de] | |
| 434 | 5. | c.1735 orearlier | choralesetting "Wer weiß, wie nahe mir mein Ende" | Amin. | SATB | 39: 273 | III/2.1: 38 | after Z 2778; text by Emilie Juliane of B-M | |
| choralesetting "Wer nur den lieben Gott lässt walten" | III/2.2: 85 | after Z 2778; text by Neumark | |||||||
| 435 | 5. | 1750 orearlier | choralesetting "Wie bist du, Seele, in mir so gar betrübt" | Emin. | SATB | 39: 274 | III/2.2: 143 | after Z 4092; text by Zeutschner[choralwiki] | |
| 436 | 5. | c.1735 orearlier | choralesetting "Wie schön leuchtet der Morgenstern" | Emaj. | SATB | 39: 274 | III/2.1:45 III/2.2:165 | after Z 8359; text by Nicolai | |
| 437 | 5. | 1750 orearlier | choralesetting "Wir glauben all an einen Gott" | DDor. | SATB | 39: 275 | III/2.2: 76 | after Z 7971; text by Luther after Creed | |
| 258 | 5. | 1750 orearlier | choralesetting "Wo Gott der Herr nicht bei uns hält" | Bmin. | SATB | 39: 179 | III/2.2: 194 | after Z 4441a; text by Jonas | |
| 438 | 5. | 1750 orearlier | choralesetting "Wo Gott zum Haus nicht gibt sein Gunst" | Fmaj. | SATB | 39:276 | III/2.2:90 | after Z 305; text by Kolross |
In the 1725 Notebook for Anna Magdalena Bach
Included in the second Notebook for Anna Magdalena Bach (started 1725): BWV 299: "Dir, dir, Jehova, will ich singen" (included as No.39, in both a four-part chorale version and a voice and bass version) • BWV 397: "O Ewigkeit, du Donnerwort" (included as No.42 in a voice and bass version = BWV 513)
With a voice and bass variant in Schemellis Gesangbuch
Two-part versions in Schemellis Gesangbuch: No.40 (3), BWV 447 → BWV 297 • No.281 (18), BWV 481 → BWV 413 • No.293 (22), BWV 499 → BWV 410 • No.296 (23), BWV 500 ↔ BWV 500a, four-part variant in St Mark Passion pasticcio • No.315 (26), BWV 501 → BWV 412 • No.320 (27), BWV 441 → BWV441* or deest • No.397 (32), BWV 452 → BWV 299 • No.488 (37), BWV 461 → BWV 320 • No.741 (53), BWV 470 → BWV 357 • No.779 (55), BWV 506 → BWV 424 • No.881 (63), BWV 488 → BWV 258 • No.894 (65), BWV 495 → BWV 405
Other four-part chorales in early manuscripts
Authenticated as Bach's after the first edition (1950) of the Bach-Werke-Verzeichnis: BWV1089: "Da Jesus an dem Kreuze stund" • BWV1122: "Denket doch, ihr Menschenkinder" • BWV1123: "Wo Gott zum Haus nicht gibt sein Gunst" • BWV1124: "Ich ruf zu dir, Herr Jesu Christ" • BWV1125: "OGott, du frommer Gott" • BWV1126: "Lobet Gott, unsern Herren" • BWVdeest: "Liebster Gott, wenn werd ich sterben"
See also
- List of compositions by Johann Sebastian Bach
- List of Bach cantatas (BWV 1–231)
- List of songs and arias by Johann Sebastian Bach (BWV 439–518)
Sources
- Dirst, Matthew (2017), "Early Posthumous Published Editions", in Leaver, Robin A. (ed.), The Routledge Research Companion to Johann Sebastian Bach, Taylor & Francis, pp.464–474, ISBN978-1-4094-1790-3
- Dürr, Alfred; Kobayashi, Yoshitake, eds. (1998). Bach Werke Verzeichnis: Kleine Ausgabe – Nach der von Wolfgang Schmieder vorgelegten 2. Ausgabe [Bach Works Catalogue: Small Edition – After Wolfgang Schmieder's 2nd edition] (in German). Kirsten Beißwenger (collaborator) (BWV2aed.). Wiesbaden: Breitkopf & Härtel. ISBN978-3-7651-0249-3. Preface in English and German.
- Melamed, Daniel R.; Marissen, Michael (2006), , An Introduction to Bach Studies, Oxford University Press, pp.124–126, ISBN978-0-19-530492-3
- Platen, Emil [in German] (1976). [On the authenticity of some of Johann Sebastian Bach's chorale settings]. In Schulze, Hans-Joachim; Wolff, Christoph (eds.). [Bach Yearbook 1975]. Bach-Jahrbuch (in German). Vol.61. Neue Bachgesellschaft. Evangelische Verlagsanstalt. pp.50–62. doi:.
- Schulze, Hans-Joachim (1983). ["150 pieces from the Bach estate": on the transmission of Johann Sebastian Bach's four-part chorales]. In Schulze, Hans-Joachim; Wolff, Christoph (eds.). [Bach Yearbook 1983]. Bach-Jahrbuch (in German). Vol.69. Neue Bachgesellschaft. Berlin: Evangelische Verlagsanstalt. pp.81–100. doi:. ISSN.
- Schulze, Hans-Joachim (1996), "J.S. Bach's Vocal Works in the Breitkopf Nonthematic Catalogs of 1761 to 1836", in George B. Stauffer (ed.), J.S. Bach, the Breitkopfs, and Eighteenth-century Music Trade, Bach Perspectives, vol.2, University of Nebraska Press, pp.35–52, ISBN0-8032-1044-2
- Johann Theodor Mosewius. Berlin: T. Trautwein, 1845.
- Zahn, Johannes (1889–1893). Die Melodien der deutschen evangelischen Kirchenlieder (in German). Gütersloh: Bertelsmann. , , , , ,
Further reading
- Lyon, James (2005). . Guides musicologiques (in French). Vol.6. Paris: Beauchesne. ISBN270101493X. ISSN.
- Papillon, André (2006). . . Presses de l'Université Laval. pp.133–142. ISBN2763783511.
External links
- , Department of Computing Science, University of Alberta
- Bach Chorale Listing: list at theInternational Music Score Library Project
- Free scores of Johann Sebastian Bach's Chorale Harmonizationsin theChoral Public Domain Library(ChoralWiki)
- , September 2006; retrieved 21 May 2009.
- in Capella format (in German, English, and Russian)
- at