Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

The Bach-Werke-Verzeichnis (German: [ˈbax ˌvɛʁkə fɐˈtsaɪçnɪs], lit. 'Bach Works Catalogue'; BWV) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990 and the third edition in 2022. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. In part this reflects the fact that some compositions cannot be dated. However, an approximate or precise date can be assigned to others: for example, BWV 992 was composed many years before BWV 1.

The Bach-Werke-Verzeichnis (German: [ˈbax ˌvɛʁkə fɐˈtsaɪçnɪs], lit. 'Bach Works Catalogue'; BWV) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990 and the third edition in 2022. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. In part this reflects the fact that some compositions cannot be dated. However, an approximate or precise date can be assigned to others: for example, BWV 992 was composed many years before BWV 1.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

"Allein Gott in der Höh sei Ehr" (Alone to God in the highest be glory) is an early Lutheran hymn, with text and melody attributed to Nikolaus Decius. With the reformers intending church service in German, it was intended as a German version of the Gloria part of the Latin mass, used in almost every service. Decius wrote three stanzas, probably in 1523, while a fourth was added, probably by Joachim Slüter. "Allein Gott in der Höh sei Ehr" is included in many German hymnals, including the current Protestant hymnal Evangelisches Gesangbuch and (in three stanzas) in the Catholic hymnal Gotteslob. Catherine Winkworth translated it to "All glory be to God on high".

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

"Alles mit Gott und nichts ohn' ihn" (Everything with God and nothing without him), BWV 1127, is Johann Sebastian Bach's October 1713 setting of a poem in 12 stanzas by Johann Anton Mylius, Superintendent of Buttstädt, a town in the Duchy of Saxe-Weimar. The poem is an acrostic dedicated to Duke Wilhelm Ernst of Saxe-Weimar, on his birthday (30 October). Bach, at the time employed as court organist by the Duke, set Mylius's ode as an aria in strophic form, that is a melody for soprano accompanied by continuo for the stanzas, alternated with a ritornello for strings and continuo. When all stanzas are sung, a performance of the work takes around 45 to 50 minutes. The work was likely first performed on the Duke's birthday. The original print of Mylius's poem, with Bach's composition written on two pages at the end, was archived in Weimar, where it remained unnoticed for nearly three centuries, accidentally twice escaping a devastating fire, in 1774 and in 2004, until it was rediscovered in May 2005. After the discovery (in 1924) and publication (in 1935) of Bekennen will ich seinen Namen, BWV 200, this was the first time an autograph of a previously unknown vocal work by Bach had come to light.

The Bach-Werke-Verzeichnis (German: [ˈbax ˌvɛʁkə fɐˈtsaɪçnɪs], lit. 'Bach Works Catalogue'; BWV) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990 and the third edition in 2022. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. In part this reflects the fact that some compositions cannot be dated. However, an approximate or precise date can be assigned to others: for example, BWV 992 was composed many years before BWV 1.

"An Wasserflüssen Babylon" (By the rivers of Babylon) is a Lutheran hymn by Wolfgang Dachstein, which was first published in Strasbourg in 1525. The text of the hymn is a paraphrase of Psalm 137. Its singing tune, which is the best known part of the hymn and Dachstein's best known melody, was popularised as the chorale tune of Paul Gerhardt's 17th-century Passion hymn "Ein Lämmlein geht und trägt die Schuld". With this hymn text, Dachstein's tune is included in the Protestant hymnal Evangelisches Gesangbuch. Several vocal and organ settings of the hymn "An Wasserflüssen Babylon" have been composed in the 17th and 18th centuries, including short four-part harmonisations by Johann Hermann Schein, Heinrich Schütz and Johann Sebastian Bach. In the second half of the 17th century, Johann Pachelbel, Johann Adam Reincken and Bach's cousin, Johann Christoph, arranged settings for chorale preludes. Reincken's setting of "An Wasserflüssen Babylon" was elaborate and of great length; with one of Pachelbel's shorter settings as a chorale prelude, it forms the earliest extant transcriptions of Bach, copied on a 1700 organ tablature in Lüneburg when he was still a youth; remarkably, they were only unearthed in Weimar in 2005. In 1720, at a celebrated organ concert in Hamburg, Bach extemporised a chorale setting of "An Wasserflüssen Babylon" in the presence of Reincken, two years before his death; earlier, during his second period in Weimar, Bach had already composed two organ settings of the chorale prelude. Finally, during his maturity in Leipzig, Bach reworked the chorale prelude as BWV 653, part of his Great Eighteen Chorale Preludes, written in 1739–1742.

The Bach-Werke-Verzeichnis (German: [ˈbax ˌvɛʁkə fɐˈtsaɪçnɪs], lit. 'Bach Works Catalogue'; BWV) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990 and the third edition in 2022. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. In part this reflects the fact that some compositions cannot be dated. However, an approximate or precise date can be assigned to others: for example, BWV 992 was composed many years before BWV 1.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

The Bach-Werke-Verzeichnis (German: [ˈbax ˌvɛʁkə fɐˈtsaɪçnɪs], lit. 'Bach Works Catalogue'; BWV) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990 and the third edition in 2022. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. In part this reflects the fact that some compositions cannot be dated. However, an approximate or precise date can be assigned to others: for example, BWV 992 was composed many years before BWV 1.

The Bach-Werke-Verzeichnis (German: [ˈbax ˌvɛʁkə fɐˈtsaɪçnɪs], lit. 'Bach Works Catalogue'; BWV) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990 and the third edition in 2022. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. In part this reflects the fact that some compositions cannot be dated. However, an approximate or precise date can be assigned to others: for example, BWV 992 was composed many years before BWV 1.

The Bach-Werke-Verzeichnis (German: [ˈbax ˌvɛʁkə fɐˈtsaɪçnɪs], lit. 'Bach Works Catalogue'; BWV) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990 and the third edition in 2022. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. In part this reflects the fact that some compositions cannot be dated. However, an approximate or precise date can be assigned to others: for example, BWV 992 was composed many years before BWV 1.

"Befiehl du deine Wege" is a Lutheran hymn by Paul Gerhardt. It is one of his best known hymns, and was first published in 1653 in Johann Crüger's collection of hymns and popular religious songs Praxis pietatis melica.

Songs and arias by Johann Sebastian Bach are compositions listed in Chapter 6 of the Bach-Werke-Verzeichnis (BWV 439–524), which also includes the Quodlibet. Most of the songs and arias included in this list are set for voice and continuo. Most of them are also spiritual, i.e. hymn settings, although a few have a worldly theme. The best known of these, "Bist du bei mir", was however not composed by Bach. An aria by Bach was rediscovered in the 21st century, and was assigned the number BWV 1127. Further hymn settings and arias by Bach are included in his cantatas, motets, masses, passions, oratorios and chorale harmonisations (BWV 1–438 and later additions). The second Anhang of the BWV catalogue also lists a few songs of doubtful authenticity.

Songs and arias by Johann Sebastian Bach are compositions listed in Chapter 6 of the Bach-Werke-Verzeichnis (BWV 439–524), which also includes the Quodlibet. Most of the songs and arias included in this list are set for voice and continuo. Most of them are also spiritual, i.e. hymn settings, although a few have a worldly theme. The best known of these, "Bist du bei mir", was however not composed by Bach. An aria by Bach was rediscovered in the 21st century, and was assigned the number BWV 1127. Further hymn settings and arias by Bach are included in his cantatas, motets, masses, passions, oratorios and chorale harmonisations (BWV 1–438 and later additions). The second Anhang of the BWV catalogue also lists a few songs of doubtful authenticity.

Laß, Fürstin, laß noch einen Strahl (Let, Princess, let still one more glance) is a secular cantata composed as a funeral ode by Johann Sebastian Bach, first performed on 17 October 1727. In Wolfgang Schmieder's catalogue of Bach's works (BWV) it was assigned the number 198. It is also known as Trauerode or as Trauerode: auf den Tod der Königin Christiane Eberhardine.

Was mir behagt, ist nur die muntre Jagd (The lively hunt is all my heart's desire), BWV 208.1, BWV 208, also known as the Hunting Cantata, is a secular cantata composed by Johann Sebastian Bach, belatedly for the birthday of Duke Christian of Saxe-Weissenfels on 27 February 1713. A performance lasts about forty minutes. The aria "Schafe können sicher weiden" ("Sheep May Safely Graze") is the most familiar part of this cantata.

Wie schön leuchtet der Morgenstern ('How beautifully the morning star shines'), BWV 1, is a church cantata for Annunciation by Johann Sebastian Bach. In 1725, when the cantata was composed, the feast of the Annunciation (25 March) coincided with Palm Sunday. Based on Philipp Nicolai's hymn "Wie schön leuchtet der Morgenstern" (1599), it is one of Bach's chorale cantatas. Bach composed it in his second year as Thomaskantor in Leipzig, where the Marian feast was the only occasion during Lent when music of this kind was permitted. The theme of the hymn suits both the Annunciation and Palm Sunday occasions, in a spirit of longing expectation of an arrival. As usual for Bach's chorale cantata cycle, the hymn was paraphrased by a contemporary poet who retained the hymn's first and last stanzas unchanged, but transformed the themes of the inner stanzas into a sequence of alternating recitatives and arias. Wie schön leuchtet der Morgenstern is the last chorale cantata of Bach's second cantata cycle, possibly because the librettist who provided the paraphrases for the middle movements of these cantatas was no longer available. Bach scored the work for three vocal soloists, a four-part choir and a Baroque instrumental ensemble of two horns, two oboes da caccia, two solo violins, strings and continuo. The chorale melody of Nicolai's hymn appears in the opening and closing choral movements of the cantata. All instruments play in the opening festive chorale fantasia, in which the soprano sings the hymn tune, and the two solo concertante violins represent the morning star. An oboe da caccia accompanies the vocal soloist in the first aria. The strings, including the solo violins, return in the second aria. An independent horn part crowns the closing chorale. The original performance parts of the cantata, partly written by the composer, are conserved in Leipzig. Commentators writing about the cantata, such as Carl von Winterfeld in the 19th century and W. Gillies Whittaker in the 20th century, were particularly impressed by its opening chorus. The Bach-Gesellschaft published the cantata in 1851 as first work in the first volume of their complete edition of Bach's works. From then on known as Bach's Cantata No. 1, it retained that number in the Bach-Werke-Verzeichnis, published in 1950, and its recording appeared, in 1971, as first work of the first album of Teldec's complete Bach cantata recordings by Harnoncourt and Leonhardt.

Throughout his life as a musician, Johann Sebastian Bach composed cantatas for both secular and sacred use. He composed his church cantatas for use in the Lutheran church, mainly intended for the occasions of the liturgical year.

Johann Sebastian Bach composed the church cantata Was Gott tut, das ist wohlgetan (What God does is well done), BWV 99, in Leipzig for the 15th Sunday after Trinity and first performed it on 17 September 1724. The chorale cantata is based on the hymn "Was Gott tut, das ist wohlgetan" by Samuel Rodigast (1674). Was Gott tut, das ist wohlgetan belongs to Bach's chorale cantata cycle, the second cycle during his tenure as Thomaskantor that began in 1723. The text retains the first and last stanza of the hymn unchanged, while the text of the inner stanzas was paraphrased by an unknown librettist into a sequence of four movements of alternating recitatives and arias, retaining some lines from the original chorale. The first movement is a chorale fantasia, and the work is closed by a four-part chorale setting. The cantata is scored for four vocal soloists, a four-part choir, and a Baroque instrumental ensemble of flauto traverso, oboe d'amore, strings and basso continuo, with a horn doubling the soprano in the outer movements.

Ihr werdet weinen und heulen (You shall weep and wail), BWV 103, is a cantata by Johann Sebastian Bach, a church cantata for the third Sunday after Easter, called Jubilate. Bach composed the cantata in his second year as Thomaskantor in Leipzig and first performed it on 22 April 1725. It is the first of nine cantatas on texts by Christiana Mariana von Ziegler, which Bach composed at the end of his second annual cycle of cantatas in Leipzig. Based on the Gospel reading from the Farewell Discourse, where Jesus, announcing that he will leave, says "your sorrow shall be turned into joy", Bach contrasts music of sorrow and joy, notably in the unusual first movement, where he inserts an almost operatic recitative of Jesus in the fugal choral setting. The architecture of the movement combines elements of the usual concerto form with the more text-related older form of a motet. Bach scores an unusual flauto piccolo (descant recorder in D) as an obbligato instrument in an aria contemplating the sorrow of missing Jesus, who is addressed as a doctor who shall heal the wounds of sins. Bach scores a trumpet in only one movement, an aria expressing the joy about the predicted return of Jesus. The cantata in six movements closes with a chorale, the ninth stanza of Paul Gerhardt's hymn "Barmherzger Vater, höchster Gott".

Du Hirte Israel, höre (You Shepherd of Israel, hear), BWV 104, is a church cantata by Johann Sebastian Bach for the second Sunday after Easter. Bach composed the work as part of his first cantata cycle for Leipzig and first performed it on 23 April 1724. The topic of the cantata, based on the prescribed reading from the Gospel of John, is Jesus as the Good Shepherd. The unknown librettist quoted and referred to related Biblical passages including the psalms. Bach structured the work in six movements and used pastoral music to illustrate the topic. The outer choral movements are an extended chorus, setting a verse from Psalm 80, and a four-part closing chorale of a hymn paraphrasing Psalm 23. Bach set the inner movements as alternating recitatives and arias. He scored the cantata for two vocal soloists, a four-part choir and a Baroque instrumental ensemble of a variety of oboes, strings and continuo.

Herr, gehe nicht ins Gericht mit deinem Knecht (Lord, do not pass judgment on Your servant), BWV 105 is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for the ninth Sunday after Trinity and first performed it on 25 July 1723. The musicologist Alfred Dürr has described the cantata as one of "the most sublime descriptions of the soul in baroque and Christian art".

Gottes Zeit ist die allerbeste Zeit (God's time is the very best time), BWV 106, also known as Actus tragicus, is an early sacred cantata composed by Johann Sebastian Bach in Mühlhausen, intended for a funeral. The earliest source for the composition is a copied manuscript dated 1768, therefore the date of the composition is not certain. Research leads to a funeral of a former mayor of Mühlhausen on 16 September 1708. The text is a carefully compiled juxtaposition of biblical texts, three quotations from the Old Testament and four from the New Testament, combined with funeral hymns, of which two are sung and one is quoted instrumentally. The source for the opening movement was unknown for a long time. Bach scholar Markus Rathey (Yale University) was able to determine that it had been written by theologian David von Schweinitz. Bach scored the work for four vocal parts and a small ensemble of Baroque instruments: two recorders, two violas da gamba and continuo. The work is opened by an instrumental Sonatina, followed by through-composed sections which have been assigned to four movements. The structure is symmetrical around a turning point, when the lower voices, who contemplate the Old Covenant, are overcome by a soprano calling for Jesus.

Johann Sebastian Bach composed the church cantata Was willst du dich betrüben (Why would you grieve), BWV 107 in Leipzig for the seventh Sunday after Trinity and first performed on 23 July 1724. The chorale cantata is based on Johann Heermann's hymn in seven stanzas "Was willst du dich betrüben" (1630). Bach structured the cantata, the seventh work in his chorale cantata cycle, in seven movements: two framing choral movements, a recitative and an unusual sequence of four bipartite arias. He scored the work for three vocal soloists, a four-part choir, and a Baroque chamber ensemble of a horn to reinforce the hymn tune in the outer movements, two transverse flutes, two oboes d'amore, strings and continuo. It is the only known work from his chorale cantata cycle that kept the original words unchanged.

Es ist euch gut, daß ich hingehe (It is good for you that I leave), BWV 108, is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for Cantate Sunday, the fourth Sunday after Easter, and first performed it on 29 April 1725. It is the second of nine cantatas on texts by Christiana Mariana von Ziegler, with whom he collaborated at the end of his second cantata cycle. She used two quotations from the prescribed gospel from the Farewell Discourse and closed the cantata with a stanza from Paul Gerhardt's "Gott Vater, sende deinen Geist". The topic is the prediction of Jesus of his parting and the coming of the Spirit as a comforter. The first announcement is sung by the bass as the vox Christi, the second, in the centre of the work, by the choir in three fugues combined in motet style but unified by similar themes. Bach scored the cantata for three vocal soloists (alto, tenor and bass), a four-part choir, and a Baroque instrumental ensemble of two oboes d'amore, strings and continuo. He used elements of word-painting, such as very long notes to illustrate firm belief, and sigh motifs interrupted by rests to illustrate the desiring heart.

Lobet Gott in seinen Reichen (Laud to God in all his kingdoms), BWV 11, known as the Ascension Oratorio (Himmelfahrtsoratorium), is an oratorio by Johann Sebastian Bach, marked by him as Oratorium In Festo Ascensionis Xsti (Oratorio for the feast of the Ascension of Christ), composed for the service for Ascension and probably first performed on 15 May 1738. Bach had composed his Christmas Oratorio, based on the gospels of Luke and Matthew, in 1734. He had composed an Easter Oratorio already in 1725. The text for the Ascension Oratorio, a compilation of several biblical sources, free poetry and chorales, was presumably written by Picander who may also have worked on the libretto for the Christmas Oratorio. It follows the story of the Ascension as told in Luke, Mark and the Acts of the Apostles. The oratorio is structured in eleven movements in two parts, taking about half an hour to perform. It is framed by extended choral movements, Part I is concluded by the fourth stanza of Johann Rist's hymn "Du Lebensfürst, Herr Jesu Christ" in a four-part setting. The closing chorale on the seventh stanza of Gottfried Wilhelm Sacer's "Gott fähret auf gen Himmel" is set as a chorale fantasia. The work is richly scored for the feast day, exactly like the Christmas Oratorio for four vocal parts, three trumpets, timpani, two flauti traversi, two oboes, strings and continuo.

Unser Mund sei voll Lachens ('May our mouth be full of laughter'), BWV 110, is a church cantata by Johann Sebastian Bach. He composed the Christmas cantata in Leipzig for Christmas Day and first performed it on 25 December 1725. When Bach wrote the music, he was in his third year as Thomaskantor, the church music director of Leipzig. After months with only a few cantata compositions, he embarked on a set of five cantatas for Christmas occasions. In four of these, he used earlier texts published in 1711 by Georg Christian Lehms. The text for this cantata has no pairs of recitative and arias as is common in Baroque opera and contemporary Bach cantatas. Using an older style, it instead features three biblical quotations – verses from Psalm 126, a verse from the Book of Jeremiah about God's greatness, and the angels' song from the Nativity according to the Gospel of Luke – alternating with arias. The closing chorale is from Kaspar Füger's hymn "Wir Christenleut". Bach composed the work in seven movements and scored it festively for four vocal soloists, a four-part choir and a Baroque instrumental ensemble with trumpets and timpani, flutes and several kinds of oboe. The outer movements are given to the choir and the full orchestra; the inner movements are chamber music for solo voices and solo instruments. Bach derived the first chorus, which is in the style of a French overture, from the first movement of his fourth Orchestral Suite. He embedded vocal parts in its fast middle section, illustrating the laughter mentioned in the psalm verse. The song of the angels is based on the Christmas interpolation Virga Jesse Floruit from his Magnificat in E-flat major, BWV 243a. He chose obbligato instruments to differentiate the character of the three arias: two flutes with the tenor expressing the "lowly birth", oboe d'amore with the alto, representing God's love, and trumpet, oboes and strings with the bass for his call to sing songs of joy together. Bach led the Thomanerchor in the first performances on Christmas Day in two Leipzig churches.

Was mein Gott will, das g'scheh allzeit (What my God wants, may it always happen), BWV 111, is a cantata by Johann Sebastian Bach for use in a Lutheran service. He composed the chorale cantata in Leipzig in 1725 for the third Sunday after Epiphany and first performed it on 21 January 1725, as part of his chorale cantata cycle. It is based on the hymn of the same name by Albert, Duke of Prussia, published in 1554, on the topic of the Christian's acceptance of God's will. The cantata is part of Bach's chorale cantata cycle, the second cycle during his tenure as Thomaskantor that began in 1723. In the style of the cycle, an unknown poet retained the outer stanzas for framing choral movements and paraphrased the inner stanzas into four movements for soloists, alternating arias and recitatives. Bach scored the work for four vocal soloists, a four-part choir and a Baroque instrumental ensemble of two oboes, strings and basso continuo.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Sei Lob und Ehr dem höchsten Gut (Praise and honour be to the highest good), BWV 117, is a church cantata by Johann Sebastian Bach. He composed the chorale cantata in Leipzig between 1728 and 1731 for no specific occasion, based on the hymn by Johann Jacob Schütz.

Preise, Jerusalem, den Herrn (Praise the Lord, Jerusalem), BWV 119, is a sacred cantata by Johann Sebastian Bach. He composed it in Leipzig for Ratswechsel, the inauguration of a new town council, and first performed it on 30 August 1723. Bach composed the cantata in his first year as Thomaskantor in Leipzig, about three months after taking office at the end of May 1723. A festive service at the Nikolaikirche was an annual event, celebrating the inauguration of a new town council, always held on the Monday after St. Bartholomew (August 24). The text by an anonymous poet includes psalm verses and an excerpt from Martin Luther's German Te Deum. It is focused on acknowledgement of authority as a gift of God, thanks for past blessings, and prayer for future help. The cantata is structured in nine movements, three of them choral (1, 7, 9), the others alternating arias and recitatives. The orchestra is large and representative, with four trumpets, timpani, two recorders and three oboes, in addition to strings and basso continuo. Bach led the Thomanerchor in the first performance. In 2015 the cantata was performed by the Thomanerchor at the place of its premiere on 12 June, opening the Bachfest and celebrating both the 1000th anniversary of the first recorded mention of Leipzig and the 850th anniversary of the Nikolaikirche.

Weinen, Klagen, Sorgen, Zagen (Weeping, lamenting, worrying, fearing), BWV 12, is a church cantata by Johann Sebastian Bach. He composed it in Weimar for Jubilate, the third Sunday after Easter, and led the first performance on 22 April 1714 in the Schlosskirche, the court chapel of the Schloss in Weimar. Bach was appointed Konzertmeister in Weimar in the spring of 1714, a position that called for the performance of a church cantata each month. He composed Weinen, Klagen, Sorgen, Zagen as the second cantata in the series, on a text probably written by court poet Salomon Franck. The work is structured in seven movements, an instrumental Sinfonia, a choral passacaglia, a recitative on a Bible quotation, three arias and, as the closing chorale, the last stanza from Samuel Rodigast's hymn "Was Gott tut, das ist wohlgetan" (1674). The cantata is scored for three vocal soloists, a four-part choir, trumpet, oboe, bassoon, two violins, two violas, and basso continuo. Bach performed the cantata again in his first year as Thomaskantor – director of church music – in Leipzig, on 30 April 1724. He reworked the first section of the first chorus to form the Crucifixus movement of the Credo in his Mass in B minor. Franz Liszt based extended keyboard compositions on the same material.

Gott, man lobet dich in der Stille (God, You are praised in the stillness), BWV 120.1 (previously BWV 120), is a sacred cantata by Johann Sebastian Bach. He composed it in Leipzig for the occasion of Ratswechsel, the inauguration of a new town council in a church service, probably before 1730. Parts of the cantata appeared in a wedding cantata (BWV 120.2) and a cantata commemorating the Augsburg Confession in 1730 (BWV 120.3). Bach reworked the choral second movement for the Symbolum Nicenum of his Mass in B minor.

Herr Gott, Beherrscher aller Dinge (Lord God, ruler of all things), BWV 120.2 (previously BWV 120a), is a wedding cantata by Johann Sebastian Bach. He composed and first performed it in Leipzig, most likely in 1729.

Christum wir sollen loben schon (Christ we shall praise splendidly), BWV 121, is a church cantata by Johann Sebastian Bach. He composed this Christmas cantata in Leipzig in 1724 for the second day of Christmas and first performed it on 26 December 1724. It is based on a hymn by Martin Luther, "Christum wir sollen loben schon", a 1524 translation of the Latin "A solis ortus cardine" hymn from the 5th century. The cantata is part of Bach's chorale cantata cycle, the second cycle during his tenure as Thomaskantor that began in 1723. In the format of this cycle, the text retains the first and last stanza of the chorale unchanged, while the inner six stanzas were paraphrased by an unknown librettist for alternating arias and recitatives. The librettist created a sermon about the miracle of the birth of Jesus and the believer's reaction to it. The work's outer movements are choral and use the hymn tune, while the inner four movements are composed for soloists, unconnected to the hymn tune. The cantata is scored for four vocal soloists, a four-part choir, and a Baroque instrumental ensemble of cornett and trombones to reinforce the voices, oboe d'amore, strings, and basso continuo.

Liebster Immanuel, Herzog der Frommen (Dearest Immanuel, Lord of the Faithful), BWV 123, is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for Epiphany and first performed it on 6 January 1725. It is based on the 1679 hymn of the same name by Ahasverus Fritsch which is focused on the contrast of the vanities of the world and the trust in support by Jesus. The cantata is part of Bach's chorale cantata cycle, the second cycle during his tenure as Thomaskantor that began in 1723. In the style of the cycle, an unknown poet retained the outer stanzas for framing choral movements and paraphrased the inner stanzas into four movements for soloists, alternating recitatives and arias. Bach scored the work for three vocal soloists, a four-part choir and a Baroque instrumental ensemble of traversos, two oboes d'amore, strings and basso continuo.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

"Mit Fried und Freud ich fahr dahin" (German: [mɪt ˈfʁiːt ʔʊnt ˈfʁɔʏt ʔɪç ˈfaːɐ̯ daˈhɪn]; In peace and joy I now depart) is a hymn by Martin Luther, a paraphrase in German of the Nunc dimittis, the canticle of Simeon. Luther wrote the text and melody, Zahn No. 3986, in 1524 and it was first published in the same year. Originally a song for Purification, it has been used for funerals. Luther included it in 1542 in Christliche Geseng ... zum Begrebniss (Christian chants ... for funeral). The hymn appears in several translations, for example Catherine Winkworth's "In peace and joy I now depart", in nine hymnals. It has been used as the base for music, especially for vocal music such as Dieterich Buxtehude's funeral music Mit Fried und Freud and Johann Sebastian Bach's chorale cantata Mit Fried und Freud ich fahr dahin, BWV 125.

Erhalt uns, Herr, bei deinem Wort (Sustain us, Lord with your word), BWV 126, is a cantata by Johann Sebastian Bach for use in a Lutheran service. He composed the chorale cantata in 1725 in Leipzig for the Sunday Sexagesimae, the second Sunday before Lent, and first performed it on 4 February 1725. It is based on the hymn "Erhalt uns, Herr, bei deinem Wort" by Martin Luther, published in 1542. The hymn text at Bach's time also included two stanzas by Justus Jonas and Luther's "Verleih uns Frieden gnädiglich". An unknown librettist retained four of these seven combined stanzas, using the first and the two last unchanged as customary, and expanding the third by adding text for a recitative. He paraphrased the other stanzas for two arias and another recitative. Bach structured the cantata in six movements and scored it for three vocal soloists, a four-part choir and a Baroque instrumental ensemble of trumpet, oboe, strings and continuo. The first movement is a chorale fantasia dominated by the trumpet. In the unusual third movement, Bach has an alto and a tenor voice alternate for the recitative, while they sing the lines from the third hymn stanza in a duet. The fourth movement is a dramatic bass aria, accompanied by a restless continuo. Due to the compiled hymns, the melody of the closing two stanzas is different from the one used in movements 1 and 3.

"Herr Jesu Christ, wahr Mensch und Gott" (Lord Jesus Christ, true man and God) is a Lutheran hymn by Paul Eber. It is a hymn for the dying. One of the hymn's tunes, Zahn No. 423, is also used for "Wir danken dir, Herr Jesu Christ".

Auf Christi Himmelfahrt allein (On Christ's ascension into heaven alone), BWV 128, is a church cantata by Johann Sebastian Bach. Bach composed it in Leipzig for the Feast of the Ascension and led the first performance on 10 May 1725. It is the fourth of nine cantatas on texts by Christiana Mariana von Ziegler, with whom Bach collaborated at the end of his second cantata cycle. It begins, unlike the previous three, with a chorale fantasia like the chorale cantatas, using the first stanza of a 1636 hymn for Ascension Day by Ernst Sonnemann. For a closing chorale she used the fourth stanza of "O Jesu, meine Lust" with text by Matthäus Avenarius. The theme of the cantata is the reaction of the believer to the absence of Jesus, including hope to see him again "face to face". Bach scored the cantata for three vocal soloists (alto, tenor and bass), a four-part choir and a Baroque instrumental ensemble of two horns, trumpet, two oboes, oboe d'amore, oboe da caccia, strings and basso continuo, in a rich and varied instrumentation.

Gelobet sei der Herr, mein Gott (Praised be the Lord, my God), BWV 129, is a church cantata by Johann Sebastian Bach. It is a chorale cantata. The cantata is festively scored and ends in a chorale fantasia, like the Christmas Oratorio. It was performed on Trinity Sunday 8 June 1727 in Leipzig. Rediscovery of the printed libretto of the cantata in the first decade of the 21st century led to a re-appraisal of prior assumptions regarding the early performance chronology of a few cantatas, including this one.

"Old Hundredth" (also known as "Old Hundred") is a hymn tune in long metre, from the second edition of the Genevan Psalter. It is one of the best known melodies in many occidental Christian musical traditions. The tune is usually attributed to the French composer Louis Bourgeois (c. 1510 – c. 1560). Although the tune was first associated with Psalm 134 in the Genevan Psalter, the melody receives its current name from an association with the 100th Psalm, in a translation by William Kethe titled "All People that on Earth do Dwell". The melody is also sung to various other lyrics, including the Common Doxology ("Praise God From Whom All Blessings Flow") and various German Lutheran chorales. In that latter respect it was used by Johann Sebastian Bach as a cantus firmus in his chorale cantata Herr Gott, dich loben alle wir (BWV 130).

Aus der Tiefen rufe ich, Herr, zu dir (Out of the depths I call, Lord, to You), BWV 131, is a church cantata by the German composer Johann Sebastian Bach. It was composed in either 1707 or 1708, which makes it one of Bach's earliest cantatas. Some sources suggest that it could be his earliest surviving work in this form, but current thinking is that there are one or two earlier examples. The cantata was commissioned by the minister of one of the churches in Mühlhausen, the city where Bach worked at the time. It was possibly written for a special occasion. The text is based on Luther's German version of Psalm 130 and also incorporates the words of a chorale. Bach's music integrates melodies from the chorale into larger structures. Bach also shows his interest in counterpoint, something which was characteristic of him throughout his career.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Ich freue mich in dir (I rejoice in You), BWV 133, is a church cantata by Johann Sebastian Bach. He composed the Christmas cantata in Leipzig in 1724 for the Third Day of Christmas and first performed it on 27 December 1724. It is based on the 1697 hymn of the same name by Caspar Ziegler. The cantata is part of Bach's chorale cantata cycle, the second cycle during his tenure as Thomaskantor that began in 1723. The hymn is among the most modern that Bach used within the cycle. Instead of dealing with the nativity story it is focused on an intimate relationship of the individual believer and the Christ child. In the style of the chorale cantata cycle, an unknown poet retained the outer stanzas for framing choral movements and paraphrased the middle stanza into four movements for soloists, alternating arias and recitatives. In this case, two recitatives also end in the exact wording from the chorale. Bach scored the work for four soloists, a four-part choir and a Baroque instrumental ensemble of a cornetto to reinforce the chorale tune, two oboes d'amore, strings and basso continuo. The choir has only a rather small part, explained by the two demanding new cantatas first performed the two previous days.

Ein Herz, das seinen Jesum lebend weiß (A heart that knows its Jesus is living), BWV 134, is a church cantata for Easter by Johann Sebastian Bach. Bach composed the cantata for the third day of Easter in Leipzig and first performed it on 11 April 1724. He based it on his congratulatory cantata Die Zeit, die Tag und Jahre macht, BWV 134a, first performed in Köthen on 1 January 1719.

Johann Sebastian Bach composed the secular cantata Die Zeit, die Tag und Jahre macht (Time, which day and year doth make), BWV 134.1, BWV 134a, while he was in the service of the court of Leopold, Prince of Anhalt-Köthen. Bach wrote the work as a serenata for the celebration of New Year's Day 1719. The libretto by Christian Friedrich Hunold, an academic at the University of Halle, takes the form of a dialogue between two allegorical figures, Time and Divine Providence, representing the past and future, respectively. Bach set the words in eight movements consisting of alternating recitatives and arias, culminating in a choral finale. Most movements are duets of solo voices, an alto as Divine Providence and a tenor as Time. Even the closing movement features long duet passages, leading to parts for four voices. The singers are supported by a baroque instrumental ensemble of two oboes, two violins, viola and continuo. The character of the music is close to baroque opera, including French dances. Later, in Leipzig, Bach used the secular cantata as the basis for a church cantata for the Easter Tuesday 1724, Ein Herz, das seinen Jesum lebend weiß. In the initial version of the Easter cantata, he made no changes to the 1719 music other than to omit two movements and replace the text with words for the occasion, written by an unknown author. In an adaptation for performances in the 1730s, he composed new recitatives for the Easter texts and made further changes to the music. The cantata, written for a specific occasion, has not been recorded as often as other Bach cantatas. It has been used for congratulatory events such as the 80th birthday of Bach scholar Alfred Dürr, when the cantata title was chosen as that of an international conference about chronology in Bach's music, on which Dürr had focused.

Johann Sebastian Bach composed the church cantata Ach Herr, mich armen Sünder (Ah Lord, poor sinner that I am), BWV 135 in Leipzig for the third Sunday after Trinity and first performed it on 25 June 1724. It is the fourth chorale cantata from his second annual cycle, and is based on the hymn by Cyriakus Schneegass. In the format of Bach's chorale cantata cycle, the words of the hymn are retained unchanged only in the outer movements, while an unknown contemporary librettist paraphrased the inner stanzas for recitatives and arias. Bach structured the cantata in six movements, setting the chorale tune in a chorale fantasia in the opening movement, and in a four-part setting in the closing movement. The two choral movements frame alternating recitatives and arias of three vocal soloists. Bach also used a four-part choir, and a Baroque instrumental ensemble of cornett, trombone, two oboes, strings and continuo. He set the first movement as a polyphonic chorale fantasia, the bass sings the cantus firmus.

Johann Sebastian Bach composed the church cantata Lobe den Herren, den mächtigen König der Ehren (Praise the Lord, the mighty King of honor), BWV 137, in Leipzig for the twelfth Sunday after Trinity and led the first performance on 19 August 1725. The chorale cantata is based on the hymn by Joachim Neander, a general song of praise published in 1680. Bach composed the cantata in his third year in office as Thomaskantor in Leipzig. He set the unchanged text of the hymn to music, structuring the cantata in five movements, with choral outer movements framing three intimate arias. He scored it for four vocal soloists, a four-part choir, and a festive Baroque instrumental ensemble of three trumpets with timpani, two oboes, strings and continuo. The chorale melody is present in all of the movements, in varied treatment. Bach used the second movement for his Schübler Chorales, and made the closing chorale, which unusually features independent parts for the trumpets and timpani, also part of a 1729 wedding cantata.

Johann Sebastian Bach composed the church cantata Warum betrübst du dich, mein Herz (Why do you trouble yourself, my heart), BWV 138, in Leipzig for the 15th Sunday after Trinity and first performed it on 5 September 1723. The text by an unknown author includes three stanzas from the hymn of the same name. Its text and melody were formerly attributed to Hans Sachs, but were written by an unknown hymn writer. The cantata has seven movements and is scored for SATB soloists and choir, two oboes d'amore, two violins, viola and basso continuo. The cantata has features of a chorale cantata although it was written a year before Bach's annual cycle of chorale cantatas. Bach used an aria as the base of the Gratias of his Missa in G major.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

"Wachet auf, ruft uns die Stimme" (literally: Wake up, the voice is calling us) is a Lutheran hymn written in German by Philipp Nicolai, first published in 1599 together with "Wie schön leuchtet der Morgenstern". It appears in German hymnals and in several English hymnals in translations such as "Wake, Awake, for Night Is Flying" (Catherine Winkworth, 1858), "Wake, O wake! with tidings thrilling" (Francis Crawford Burkitt, 1906), and "Up! Awake! From Highest Steeple" (George Ratcliffe Woodward, 1908). Johann Sebastian Bach based a chorale cantata on the hymn, Wachet auf, ruft uns die Stimme, BWV 140, one of its many musical settings.

This is a sortable list of Bach cantatas, the cantatas composed by Johann Sebastian Bach. His almost 200 extant cantatas are among his important vocal compositions. Many are known to be lost. Bach composed both church cantatas, most of them for specific occasions of the liturgical year of the Lutheran Church, and secular cantatas. Bach's earliest cantatas were written possibly from 1707, the year he moved to Mühlhausen, although he may have begun composing them at his previous post in Arnstadt. He began regular composition of church cantatas in Weimar between 1708 and 1717, writing one cantata per month. In his next position in Köthen, he composed no church cantatas, but secular cantatas for the court. Most of Bach's church cantatas date from his first years as Thomaskantor and director of church music in Leipzig, a position which he took up in 1723. Working for Leipzig's Thomaskirche and Nikolaikirche, it was part of Bach's job to perform a church cantata every Sunday and holiday, conducting soloists, the Thomanerchor and orchestra as part of the church service. In his first year there, starting after Trinity, Bach regularly composed a new cantata every week in his first cantata cycle. The following year, he followed the format, now basing each cantata on a Lutheran hymn in the chorale cantata cycle. He was less rigid over the following years, but still produced new compositions in his third to fifth years, the Picander cycle of 1728–29, and late works known up to 1745. Bach also composed cantatas for other church services such as weddings and Ratswahl (the inauguration of a new town council), and he wrote secular cantatas, around 50 known works, for occasions such as academic functions of the University of Leipzig, and anniversaries and entertainment among the nobility and in society. The list includes both extant cantatas and, as far as known, lost cantatas. It is sortable by the cantata number which equals the number in the Bach-Werke-Verzeichnis (BWV), by title, by occasion during the liturgical year, the year of composition and date of first performance, as far as known. The scoring is provided, grouped by singers and groups of instruments. Colouring shows which cantatas are not extant church cantatas and which works were not even composed by Bach, but attributed to him in the past. A link to the free score of the Bach Gesellschaft in the International Music Score Library Project (IMSLP) is provided if available.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Wir müssen durch viel Trübsal (We must [pass] through great sadness), BWV 146, is a cantata by Johann Sebastian Bach, a church cantata for the third Sunday after Easter. Bach composed it in Leipzig in 1726 or 1727.

Johann Sebastian Bach composed the church cantata Herz und Mund und Tat und Leben (Heart and mouth and deed and life), BWV 147 in 1723 during his first year as Thomaskantor, the director of church music in Leipzig. His cantata is part of his first cantata cycle there and was written for the Marian feast of the Visitation on 2 July, which commemorates Mary's visit to Elizabeth as narrated in the Gospel of Luke in the prescribed reading for the feast day. Bach based the music on his earlier cantata BWV 147a, written originally in Weimar in 1716 for Advent. He expanded the Advent cantata in six movements to ten movements in two parts in the new work. While the text of the Advent cantata was written by the Weimar court poet Salomo Franck, the librettist of the adapted version who added several recitatives is anonymous. Bach began the cantata with a chorus for the full orchestra, followed by alternating recitatives and arias with often obbligato instrument. He scored it for four vocal soloists, a four-part choir, and a Baroque instrumental ensemble of trumpet, two oboes, strings, and continuo. The closing chorale of the earlier work was replaced by the hymn "Jesu, meiner Seelen Wonne" (1661) by Martin Janus, while using the melody of "Werde munter, mein Gemüte" by Johann Schop. Two of its stanzas close the two parts of the cantata in an identical setting. While Bach often composed four-part chorales to end a cantata, he embedded such a setting here in a pastoral instrumental concerto. This music became famous in a piano transcription by Dame Myra Hess as Jesu, Joy of Man's Desiring.

Man singet mit Freuden vom Sieg (lit.: One sings with joy about victory), BWV 149, is a church cantata by Johann Sebastian Bach. He composed the work in Leipzig for Michaelmas and first performed it in 1728 or 1729. It is the last of his three extant cantatas for the feast. Picander wrote the cantata's libretto, and published it in a 1728/29 cycle of cantata texts. The libretto opens with two verses from Psalm 118 and closes with the third stanza of Martin Schalling's "Herzlich lieb hab ich dich, o Herr". The topic of the libretto aligns with the prescribed readings for the day from the Book of Revelation, Michael fighting the dragon. The closing Lutheran hymn stanza writes about a "sweet little angel", accompanying a soul in anticipation of the Last Judgment. The cantata has seven movements, and is scored festively with four vocal parts and a Baroque orchestra of three trumpets, timpani, three oboes, bassoon, strings and continuo. Bach derived the music of the opening chorus from his Hunting Cantata, composed already in 1713.

Nach dir, Herr, verlanget mich (For Thee, O Lord, I long), BWV 150, is an early church cantata by Johann Sebastian Bach composed for an unknown occasion. It is unique among Bach's cantatas in its sparse orchestration and in the independence and prominence of the chorus, which is featured in four out of seven movements. The text alternates verses from Psalm 25 and poetry by an unknown librettist. Bach scored the work for four vocal parts and a small Baroque instrumental ensemble of two violins, bassoon and basso continuo. Many scholars think that it may be the earliest extant cantata by Bach, possibly composed in Arnstadt in 1707.

Süßer Trost, mein Jesus kömmt (Sweet comfort, my Jesus comes), BWV 151, is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for the third day of Christmas, in a cycle of works for the Christmas season mainly to texts by Georg Christian Lehms; he first performed it on 27 December 1725.

Tritt auf die Glaubensbahn (Step upon the path of faith), BWV 152, is a church cantata by Johann Sebastian Bach. He composed this dialogue cantata in Weimar for the Sunday after Christmas and first performed it on 30 December 1714.

Schau, lieber Gott, wie meine Feind (See, dear God, how my enemies), BWV 153, is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for the Sunday after New Year's Day and first performed it on 2 January 1724.

Ich lasse dich nicht, du segnest mich denn (I will not let you go, unless you bless me), BWV 157, is a church cantata by Johann Sebastian Bach. He composed it in Leipzig in 1726/27 to a libretto by Picander. The first known performance was on 6 February 1727 during a memorial service for Johann Christoph von Ponickau in Pomßen near Leipzig. The work was later assigned to the feast of the Purification celebrated on 2 February. Picander included a quotation from Genesis 32:26–32 in the first movement, and the last stanza of Christian Keymann's "Meinen Jesum laß ich nicht" in the closing chorale. The contemplation begins with the Old Testament quotation being applied to Jesus, and leads to the last aria expressing an eager wish for death to arrive soon. The closing chorale picks up the first line. Bach structured the cantata in five movements. The original "chamber music" version (as reconstructed by Klaus Hofmann) was scored for two vocal soloists, tenor and bass, a four-part choir, and a Baroque instrumental ensemble of flauto traverso, oboe d'amore and continuo. In the later version, there are parts also for oboe, two violins and violetta.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Herr Gott, dich loben wir (Lord God, we praise You), BWV 16, is a church cantata for New Year's Day by Johann Sebastian Bach. It was first performed on 1 January 1726 in Leipzig, as part of the composer's third cantata cycle. Its libretto is by Georg Christian Lehms, as for three other of Bach's cantatas for that Christmas season that started with Unser Mund sei voll Lachens, BWV 110 on Christmas Day. He opened his text with the beginning of "Herr Gott, dich loben wir", Luther's German Te Deum, and continued with expressing thanks for the completed year and prayers for future blessing. The cantata is closed with a stanza from Paul Eber's "Helft mir Gotts Güte preisen" for the closing chorale. Bach structured the work in six movements and scored it for three vocal soloists (alto, tenor, and bass), a four-part choir, corno da caccia, oboes, strings and basso continuo. The work features an unusual aria performed by a soloist with the choir.

Johann Sebastian Bach composed the church cantata Komm, du süße Todesstunde (Come, you sweet hour of death), BWV 161, in Weimar for the 16th Sunday after Trinity, probably first performed on 27 September 1716. Bach had taken up regular cantata composition two years before when he was promoted to concertmaster at the Weimar court, writing one cantata per month to be performed in the Schlosskirche, the court chapel in the ducal Schloss. The text of Komm, du süße Todesstunde, and of most other cantatas written in Weimar, was provided by court poet Salomon Franck. He based it on the prescribed gospel reading about the young man from Nain. His text reflects on longing for death, seen as a transition to a life united with Jesus. The text includes as a closing chorale the fourth stanza of the hymn "Herzlich tut mich verlangen" by Christoph Knoll. The cantata in six movements opens with a sequence of alternating arias and recitatives leading to a chorus and a concluding chorale. The chorale tune, known as "O Haupt voll Blut und Wunden", appears in the first movement, played by the organ, and musical motifs of the arias are derived from it, providing an overall formal unity to the composition. Bach scored the work for two vocal parts (alto and tenor), a four-part choir, and a Baroque chamber ensemble of recorders, strings and continuo. In the alto recitative (movement 4), accompanied by all instruments, Bach creates the images of sleep, of waking up, and of funeral bells, the latter in the recorders and pizzicato of the strings. Bach expanded the final measures of the recitative ("so schlage doch") to a full length aria for tenor (Ach, schlage doch bald, selge Stunde) in the cantata Christus, der ist mein Leben, BWV 95, which he composed in 1723 in Leipzig. While the libretto was published in a collection in 1715, Bach probably did not perform it until 27 September 1716, due to a period of public mourning of six months in the Duchy of Weimar from August 1715. Bach revived the cantata when he was Thomaskantor in Leipzig, but not for his cantata cycles, which included three new works for the 16th Sunday after Trinity. He performed Komm, du süße Todesstunde with minor changes between 1737 and 1746. He also assigned it to the occasion of Purification, a feast with a similar topic.

Johann Sebastian Bach composed the church cantata Ach! ich sehe, itzt, da ich zur Hochzeit gehe (Ah! I see, now, when I go to the wedding), BWV 162, in Weimar for the 20th Sunday after Trinity and first performed it in 1715 or 1716.

O heilges Geist- und Wasserbad (O holy bath of Spirit and water), BWV 165, is a church cantata by Johann Sebastian Bach. He composed it in Weimar for Trinity Sunday and led the first performance on 16 June 1715. Bach had taken up regular cantata composition a year before when he was promoted to concertmaster at the Weimar court, writing one cantata per month to be performed in the Schlosskirche, the court chapel in the ducal Schloss. O heilges Geist- und Wasserbad was his first cantata for Trinity Sunday, the feast day marking the end of the first half of the liturgical year. The libretto by the court poet Salomo Franck is based on the day's prescribed gospel reading about the meeting of Jesus and Nicodemus. It is close in content to the gospel and connects the concept of the Trinity to baptism. The music is structured in six movements, alternating arias and recitatives, and scored for a small ensemble of four vocal parts, strings and continuo. The voices are combined only in the closing chorale, the fifth stanza of Ludwig Helmbold's hymn "Nun laßt uns Gott dem Herren", which mentions scripture, baptism and the Eucharist, in a summary of the cantata's topic. Based on the text full of Baroque imagery, Bach composed a sermon in music, especially in the two recitatives for the bass voice, and achieved contrasts in expression. He led the first performance, and probably another on the Trinity Sunday concluding his first year as Thomaskantor in Leipzig on 4 June 1724.

Wo gehest du hin? ("Where are you heading?", literally: "Where do you go?"), BWV 166, is a church cantata by Johann Sebastian Bach for Cantate Sunday, the fourth Sunday after Easter. Bach composed the work as part of his first cantata cycle for Leipzig and first performed it on 7 May 1724. The topic of the cantata is based on the Farewell Discourse from the Gospel of John, when Jesus announces a Comforter. Based on his question quoted from the narration, "Where do you go?", the cantata explores the direction in which life should go. Bach structured the work in six movements. The first movement is not the usual extended chorus, but an arioso for a bass setting a question from the gospel. It is followed by an aria for tenor, a hymn stanza for soprano, a recitative for bass and an aria for alto. The closing chorale is a four-part setting of the first stanza of the 1688 hymn "Wer weiß, wie nahe mir mein Ende". The text of the recitative and the arias was written by an unknown librettist. Bach scored the cantata for four voices and a Baroque instrumental ensemble of oboe, strings and continuo.

Johann Sebastian Bach composed the church cantata Ihr Menschen, rühmet Gottes Liebe (You people, glorify God's love), BWV 167 in Leipzig for the Feast of St. John the Baptist (German: Fest Johannes des Täufers, also Johannistag) and first performed it on 24 June 1723. It is part of his first cantata cycle in Leipzig.

Johann Sebastian Bach composed Vergnügte Ruh, beliebte Seelenlust (Delightful rest, beloved pleasure of the soul), BWV 170, a church cantata for the sixth Sunday after Trinity in Leipzig. It is a solo cantata for alto that he first performed on 28 July 1726.

Gott, wie dein Name, so ist auch dein Ruhm (God, as Your name is, so is also Your praise), BWV 171, is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for New Year's Day and probably first performed it on 1 January 1729. Bach composed the cantata years after the complete cantata cycles from the beginning of his tenure as Thomaskantor in Leipzig in 1723. The text by Picander appeared in a 1728 collection of texts for all occasions of the liturgical year. The feast day also celebrated the circumcision and naming of Jesus. Picander focused on the naming, beginning with a psalm verse mentioning God's name. He used for the conclusion the second stanza from Johannes Hermann's hymn "Jesu, nun sei gepreiset". Bach structured the cantata in six movements, an opening choral fugue, alternating arias and recitatives and closing chorale. He scored the work for four vocal soloists, a four-part choir and a festive Baroque instrumental ensemble of three trumpets and timpani, two oboes, strings and continuo. The oboes and strings play with the voices in motet style in the choral sections, while the trumpets add the style of a new time. The cantata is part of Bach's Picander cycle.

Erschallet, ihr Lieder, erklinget, ihr Saiten! (Resound, you songs; ring out, you strings!), BWV 172, is a church cantata by Johann Sebastian Bach, composed in Weimar for Pentecost Sunday in 1714. Bach led the first performance on 20 May 1714 in the Schlosskirche, the court chapel in the ducal Schloss. Erschallet, ihr Lieder is an early work in a genre to which he later contributed complete cantata cycles for all occasions of the liturgical year. Bach was appointed Konzertmeister in Weimar in the spring of 1714, a position that called for the performance of a church cantata each month. He composed Erschallet, ihr Lieder as the third cantata in the series, to a text probably written by court poet Salomon Franck. The text reflects different aspects of the Holy Spirit. The librettist included a quotation from the day's prescribed Gospel reading in the only recitative, and for the closing chorale he used a stanza from Philipp Nicolai's hymn "Wie schön leuchtet der Morgenstern" (1599). The work is in six movements, and scored for four vocal soloists, four-part choir, three trumpets, timpani, oboe, bassoon and a string orchestra of two violins, two violas, and basso continuo. The orchestra for the holiday occasion is festive compared to the two works previously composed in Weimar. The cantata opens with a chorus, followed by the recitative, in which words spoken by Jesus are sung by the bass as the vox Christi (voice of Christ). A bass aria with trumpets addresses the Trinity, and a tenor aria then describes the Spirit that was present at the Creation. This is followed by an intimate duet of the Soul (soprano) and the Spirit (alto), to which an oboe plays the ornamented melody of Martin Luther's hymn "Komm, Heiliger Geist, Herre Gott" and a solo cello provides the bass line. The theme of intimacy between God and Man is developed further in the following chorale, after which Bach specified an unusual repeat of the opening chorus. While Bach served as Thomaskantor – director of church music – in Leipzig from 1723, he performed the cantata several times, sometimes in a different key and with changes in the scoring. Musicologists agree that he loved the cantata's Gospel text, "If ye love me ...", and the Pentecost hymn used in the duet, setting both the text and the hymn several times. John Eliot Gardiner writes that Bach "particularly valued" this cantata. It contains features that he used again in later compositions of cantatas, oratorios and his masses, for example movements with three trumpets and timpani in a triple meter for festive occasions, and duets as a symbol of God and man.

This is a sortable list of Bach cantatas, the cantatas composed by Johann Sebastian Bach. His almost 200 extant cantatas are among his important vocal compositions. Many are known to be lost. Bach composed both church cantatas, most of them for specific occasions of the liturgical year of the Lutheran Church, and secular cantatas. Bach's earliest cantatas were written possibly from 1707, the year he moved to Mühlhausen, although he may have begun composing them at his previous post in Arnstadt. He began regular composition of church cantatas in Weimar between 1708 and 1717, writing one cantata per month. In his next position in Köthen, he composed no church cantatas, but secular cantatas for the court. Most of Bach's church cantatas date from his first years as Thomaskantor and director of church music in Leipzig, a position which he took up in 1723. Working for Leipzig's Thomaskirche and Nikolaikirche, it was part of Bach's job to perform a church cantata every Sunday and holiday, conducting soloists, the Thomanerchor and orchestra as part of the church service. In his first year there, starting after Trinity, Bach regularly composed a new cantata every week in his first cantata cycle. The following year, he followed the format, now basing each cantata on a Lutheran hymn in the chorale cantata cycle. He was less rigid over the following years, but still produced new compositions in his third to fifth years, the Picander cycle of 1728–29, and late works known up to 1745. Bach also composed cantatas for other church services such as weddings and Ratswahl (the inauguration of a new town council), and he wrote secular cantatas, around 50 known works, for occasions such as academic functions of the University of Leipzig, and anniversaries and entertainment among the nobility and in society. The list includes both extant cantatas and, as far as known, lost cantatas. It is sortable by the cantata number which equals the number in the Bach-Werke-Verzeichnis (BWV), by title, by occasion during the liturgical year, the year of composition and date of first performance, as far as known. The scoring is provided, grouped by singers and groups of instruments. Colouring shows which cantatas are not extant church cantatas and which works were not even composed by Bach, but attributed to him in the past. A link to the free score of the Bach Gesellschaft in the International Music Score Library Project (IMSLP) is provided if available.

Durchlauchtster Leopold (Most illustrious Leopold), BWV 173.1 (formerly BWV 173a), is a secular cantata by Johann Sebastian Bach. Bach composed the cantata for performance in Köthen to celebrate the birthday of Leopold von Anhalt-Köthen. The cantata is one of a series of congratulatory works which Bach wrote for this employer. Some of them are lost, while others such as Der Himmel dacht auf Anhalts Ruhm und Glück, BWV 66.1 can be reconstructed because Bach reused the music later. Durchlauchtster Leopold is unusual in surviving in a complete state.

Picander's cycle of 1728–29 is a cycle of church cantata librettos covering the liturgical year. It was published for the first time in 1728 as Cantaten auf die Sonn- und Fest-Tage durch das gantze Jahr (Cantatas for the Sun- and feastdays throughout the year). Johann Sebastian Bach set several of these librettos to music, but it is unknown whether he covered a substantial part of the cycle. This elusive cycle of cantata settings is indicated as the composer's fourth Leipzig cycle, or the Picander cycle (German: Picander Jahrgang).

Er rufet seinen Schafen mit Namen (He calls His sheep by name), BWV 175, is a church cantata by Johann Sebastian Bach. He composed the cantata in Leipzig for the third day of Pentecost and first performed it on 22 May 1725.

Es ist ein trotzig und verzagt Ding (There is something defiant and despairing), BWV 176, is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for Trinity Sunday on a text by Christiana Mariana von Ziegler and first performed it on 27 May 1725. This cantata concluded his second year of cantata compositions in Leipzig, the last of nine cantatas on texts by Ziegler that Bach set at the end of the second cantata cycle. The cantata begins with a choral movement, setting a paraphrase from the Book of Jeremiah. The focus of her text is based on the meeting of Jesus and Nicodemus from the Gospel of John, namely that nobody could act as Jesus if God was not with him. For a closing chorale she used the eighth stanza from Paul Gerhardt's hymn "Was alle Weisheit in der Welt" which ends with a confession of the Trinity. Bach scored the cantata for three vocal soloists (soprano, alto and bass), a four-part choir and a Baroque instrumental ensemble of three two oboes, an oboe da caccia, strings and basso continuo. The opening movement is a fugue on a powerful theme, distinctly different from the chorale fantasias that had begun most cantatas of the second cantata cycle.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Gleichwie der Regen und Schnee vom Himmel fällt (Just as the rain and snow fall from heaven), BWV 18, is an early church cantata by Johann Sebastian Bach. He composed it in Weimar for the Sunday Sexagesimae, the second Sunday before Lent, likely by 1713. The cantata is based on a text by Erdmann Neumeister published in 1711. While at Weimar Bach set at least one other cantata text by this librettist; he also set others by the court poet Salomon Franck. The text cites Isaiah, related to the gospel, the parable of the Sower. The third movement is in the style of a sermon, combined with a litany by Martin Luther. The closing chorale is the eighth stanza of Lazarus Spengler's hymn "Durch Adams Fall ist ganz verderbt". The cantata falls relatively early in Bach's chronology of cantata compositions. It was possibly composed for performance on 24 February 1715, but more likely for a year or even two earlier. Sexagesima always falls within January or February, so the title's reference to snowfall would have been relevant to the weather at the time. Bach structured the work in five movements, a sinfonia, a recitative, a recitative with chorale, an aria and a closing chorale. He scored it for three vocal soloists, a four-part choir only in the chorale, and a Baroque instrumental ensemble which is unusual in having violas but no violins. The instruments originally specified were four violas, cello, bassoon and basso continuo. When he performed the work again as Thomaskantor in Leipzig, he added two recorders to double viola I and II an octave higher, thus creating a lighter sound overall.

Leichtgesinnte Flattergeister (Light-minded frivolous spirits), BWV 181, is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for Sexagesima and first performed it on 13 February 1724.

Himmelskönig, sei willkommen (King of Heaven, welcome), BWV 182, is a church cantata by Johann Sebastian Bach. He composed it in Weimar for Palm Sunday, and first performed it on 25 March 1714, which was also the feast of the Annunciation that year.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Ärgre dich, o Seele, nicht (Do not be confounded, o soul), BWV 186 is a church cantata by Johann Sebastian Bach. He composed it originally in Weimar in 1716 for Advent, BWV 186a, and expanded it in Leipzig in 1723 for the seventh Sunday after Trinity, where he first performed it on 11 July 1723.

Ich habe meine Zuversicht (I have [placed] my confidence), BWV 188, is a church cantata by Johann Sebastian Bach. He composed the cantata in Leipzig for the 21st Sunday after Trinity and probably first performed it on 17 October 1728.

Es erhub sich ein Streit (There arose a war), BWV 19, is a church cantata by Johann Sebastian Bach. He composed it in Leipzig in 1726 for the Feast of Saint Michael and first performed it on 29 September 1726. It is the second of his three extant cantatas for this feast.

Singet dem Herrn ein neues Lied (Sing a new song to the Lord), BWV 190, is a church cantata by Johann Sebastian Bach. He wrote it in Leipzig for the New Year's Day and first performed it on 1 January 1724 as part of his first cantata cycle. He adapted it in 1730 to Singet dem Herrn ein neues Lied, BWV 190a, for the celebration of the bicentennial of the Augsburg Confession.

Gloria in excelsis Deo (Glory to God in the Highest), BWV 191, is a church cantata written by the German Baroque composer Johann Sebastian Bach, and the only one of his church cantatas set to a Latin text. He composed the Christmas cantata in Leipzig probably in 1742, for a celebration by the university of Leipzig. The composition's three movements all derive from the Gloria of Bach's 1733 Kyrie–Gloria Mass, which the composer would later use as the Gloria of his Mass in B minor.

Nun danket alle Gott (Now thank ye all our God), BWV 192, is a church cantata for Trinity Sunday composed by Johann Sebastian Bach in Leipzig in 1730. It is an incomplete cantata, because its tenor part is missing. It is a chorale cantata, setting the unmodified three stanzas of Martin Rinckart's "Nun danket alle Gott" ("Now Thank We All Our God"). It has been regarded as an expansion of Bach's chorale cantata cycle.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Höchsterwünschtes Freudenfest (Most highly desired festival of joy), BWV 194, is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for dedication of the church and organ at Störmthal on 2 November 1723. The cantata text was written by an anonymous poet, including two stanzas of Johann Heermann's hymn "Treuer Gott, ich muß dir klagen" (1630) and two stanzas of Paul Gerhardt's "Wach auf, mein Herz, und singe" (1647). Bach used an earlier secular cantata as a base for a structure in two parts of six movements each, beginning with an extended choral movement and concluding both parts with chorale stanzas. The inner movements are alternating recitatives and arias. The chorales are the only movements which were certainly newly composed for the occasion. Bach scored the work for three vocal soloists, a four-part choir and a Baroque instrumental ensemble of three oboes, bassoon, strings and continuo. After the first performance in Störmthal, Bach performed the cantata again in Leipzig for Trinity Sunday, first on 4 June 1724, a shortened version in 1726, and the complete version in 1731.

Dem Gerechten muß das Licht (The light shall [ever rise again] for the righteous), BWV 195, is a church cantata by Johann Sebastian Bach for a wedding. He composed it in Leipzig, possibly in 1727, but only the incomplete scores of later performances from the 1740s survived. It uses two verses from Psalm 97 for the opening movement, and the first stanza auf Paul Gerhardt's hymn "Nun danket all und bringet Ehr" for the closing chorale. The librettist of the other movements is unknown.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Ehre sei Gott in der Höhe (Glory be to God in the Highest), BWV 197a (197.1), is a Christmas cantata by Johann Sebastian Bach. He composed it in Leipzig for the First Day of Christmas in 1728 or 1729.

Johann Sebastian Bach composed the church cantata Mein Herze schwimmt im Blut (My heart swims in blood) BWV 199 in Weimar between 1712 and 1713, and performed it on the eleventh Sunday after Trinity, 12 August 1714. It is a solo cantata for soprano. The text was written by Georg Christian Lehms and published in Darmstadt in 1711 in the collection Gottgefälliges Kirchen-Opffer, on the general topic of redemption. The librettist wrote a series of alternating recitatives and arias, and included as the sixth movement (of eight) the third stanza of Johann Heermann's hymn "Wo soll ich fliehen hin". It is not known when Bach composed the work, but he performed it as part of his monthly cantata productions on the eleventh Sunday after Trinity, 12 August 1714. The solo voice is accompanied by a Baroque instrumental ensemble of oboe, strings and continuo. The singer expresses in a style similar to Baroque opera the dramatic development from feeling like a "monster in God's eyes" to being forgiven. Bach revised the work for later performances, leading to three editions in the Neue Bach-Ausgabe.

Weichet nur, betrübte Schatten (Dissipate, you troublesome shadows), BWV 202, is a secular cantata by Johann Sebastian Bach. It was likely composed for a wedding, but scholars disagree on the dating which could be as early as Bach's tenure in Weimar, around 1714, while it has traditionally been connected to his wedding to Anna Magdalena on 3 December 1721 in Köthen. It is one of Bach's frequently recorded cantatas. The aria "Sich üben im Lieben" ("To practice sweet courtship, to joyously cuddle" or "To cultivate love") is often performed as a concert piece.

Ich bin in mir vergnügt (I am content in myself), BWV 204, is a secular cantata composed by Johann Sebastian Bach in Leipzig between 1726 and 1727.

Auf, schmetternde Töne der muntern Trompeten (Arise, blaring tones of high-spirited trumpets), BWV 207.2 (previously BWV 207a), is a secular cantata composed by Johann Sebastian Bach and likely premiered in 1735. It utilizes the music from the third movement of the Brandenburg Concerto No. 1 in F major.

Non sa che sia dolore (He knows not what sorrow is), BWV 209, is a secular cantata composed by Johann Sebastian Bach and possibly first performed in Leipzig in 1747. With Amore Traditore, it is one of the composer's only two settings of a text in Italian.

Johann Sebastian Bach composed the church cantata Ich hatte viel Bekümmernis (I had much grief), BWV 21 in Weimar, possibly in 1713, partly even earlier. He used it in 1714 and later for the third Sunday after Trinity of the liturgical year. The work marks a transition between motet style on biblical and hymn text to operatic recitatives and arias on contemporary poetry. Bach catalogued the work as e per ogni tempo (and for all times), indicating that due to its general theme, the cantata is suited for any occasion. The text was probably written by the court poet Salomon Franck, who includes four biblical quotations from three psalms and from the Book of Revelation, and juxtaposes in one movement biblical text with two stanzas from Georg Neumark's hymn "Wer nur den lieben Gott lässt walten". The cantata is structured in eleven movements, including an opening sinfonia. It is divided in two parts to be performed before and after the sermon, and scored for three vocal soloists (soprano, tenor, and bass), a four-part choir, and a Baroque instrumental ensemble of three trumpets, timpani, oboe, strings and continuo. Bach led a performance in the court chapel of Schloss Weimar on 17 June 1714, known as the Weimar version. He revised the work for performances, possibly in Hamburg and several revivals in Leipzig, adding for the first Leipzig version four trombones playing colla parte.

O holder Tag, erwünschte Zeit (O lovely day, o hoped-for time), BWV 210.2, BWV 210, is a secular cantata by Johann Sebastian Bach. He wrote the solo cantata for soprano in Leipzig for a wedding and first performed it between 1738 and 1746. Bach used material from a "Huldigungskantate" (homage cantata), O angenehme Melodei, first performed in January 1729.

Schweigt stille, plaudert nicht (Be still, stop chattering), BWV 211, also known as the Coffee Cantata, is a secular cantata by Johann Sebastian Bach. He composed it probably between 1732 and 1735. Although classified as a cantata, it is essentially a miniature comic opera. In a satirical commentary, the cantata amusingly tells of an addiction to coffee.

Mer hahn en neue Oberkeet (We have a new governor), BWV 212, is a secular cantata by Johann Sebastian Bach. It was entitled the "Cantate burlesque" by Bach himself, but is now popularly known as the Peasant Cantata. It is the last definitely dated Bach cantata.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Jesus nahm zu sich die Zwölfe ([ˈjeːzʊs naːm t͡suː zɪç diː t͡svœlfə], Jesus gathered the twelve to Himself), BWV 22, is a church cantata by Johann Sebastian Bach composed for Quinquagesima, the last Sunday before Lent. Bach composed it as an audition piece for the position of Thomaskantor in Leipzig and first performed it there on 7 February 1723. The work, which is in five movements, begins with a Gospel passage in which Jesus predicts his suffering in Jerusalem. The unknown poet of the cantata text took the scene as a starting point for a sequence of aria, recitative, and aria, in which the contemporary Christian takes the place of the disciples, who do not understand what Jesus is telling them about the events soon to unfold, but follow him nevertheless. The closing chorale is a stanza from Elisabeth Cruciger's hymn "Herr Christ, der einig Gotts Sohn". The music is scored for three vocal soloists, a four-part choir, oboe, strings and continuo. The work shows that Bach had mastered the composition of a dramatic scene, an expressive aria with obbligato oboe, a recitative with strings, an exuberant dance, and a chorale in the style of his predecessor in the position as Thomaskantor, Johann Kuhnau. Bach directed the first performance of the cantata during a church service, together with another audition piece, Du wahrer Gott und Davids Sohn, BWV 23. He performed the cantata again on the last Sunday before Lent a year later, after he had taken up office. The cantata shows elements which became standards for Bach's Leipzig cantatas and even the Passions, including a "frame of biblical text and chorale around the operatic forms of aria and recitative", "the fugal setting of biblical words" and "the biblical narrative ... as a dramatic scena".

Du wahrer Gott und Davids Sohn (You true God and Son of David), BWV 23, is a church cantata by Johann Sebastian Bach. He composed it in Köthen between 1717 and 1723 for Quinquagesima Sunday and performed it as an audition piece for the position of Thomaskantor in Leipzig on 7 February 1723. The Sunday was the last occasion for music at church before the quiet time of Lent. Bach had at least the first three movements ready for the audition in Leipzig and may have added the substantial last movement, derived from the lost Weimarer Passion, rather late. The cantata deals with healing the blind near Jericho. An anonymous author stayed close to the gospel, having the blind man call Jesus in the first movement, and begging Jesus not to pass in the second. In the last movement Bach presents an extended version of "Christe, du Lamm Gottes", the German Agnus Dei of the Lutheran mass. He scored the cantata for three vocal soloists, a four-part choir, and a Baroque instrumental ensemble with oboes, strings and continuo. Bach possibly led the audition performance of the work in Leipzig in the Thomaskirche on 7 February 1723, probably after the sermon. He performed the cantata again for the same occasion on 20 February 1724, this time reinforcing the voices by a brass choir in the final movement.

Entfliehet, verschwindet, entweichet, ihr Sorgen (Flee, dissolve, fade away, you cares), BWV 249a, later BWV 249.1, is a secular cantata by Johann Sebastian Bach. It was composed for the birthday of Christian, Duke of Saxe-Weissenfels and performed on 23 February 1725. The work is also known as Shepherd Cantata or Shepherds' Cantata (German: Schäferkantate). It was titled Tafel-Music in the publication of the libretto, by Picander, in 1727, suggesting a scenic performance. The score is lost, but could be reconstructed, because Bach used it again in his Easter Oratorio. The work in ten movements is scored for four vocal soloists representing shepherds, a four-part choir and a festive Baroque instrumental ensemble of three trumpets, timpani, two oboes, oboe d'amore, bassoon, two recorders, transverse flute, strings and continuo.

Gottlob! nun geht das Jahr zu Ende (Praise God! Now the year comes to an end), BWV 28, is a church cantata by Johann Sebastian Bach for the Sunday after Christmas. He first performed it on 30 December 1725. Bach wrote the cantata in the third year of his tenure as Thomaskantor, director of church music in Leipzig. The text by Erdmann Neumeister ignores the prescribed reading for the Sunday and is focuse on the turn of the year instead, including stanza's from two hymns, Johann Gramann's "Nun lob, mein Seel, den Herren" and from Paul Eber's "Helft mir Gotts Güte preisen. Bach structured the cantata in six movements and scored it for four vocal soloists, a four-part choir, and a Baroque instrumental ensemble of cornetto, three trombones, two oboes, taille, strings and continuo.

Wir danken dir, Gott, wir danken dir (We thank you, God, we thank you), BWV 29, is a sacred cantata by Johann Sebastian Bach. He composed it in Leipzig in 1731 for Ratswechsel, the annual inauguration of a new town council, and first performed it on 27 August of that year. The cantata was part of a festive service in the St. Nicholas Church. The cantata text by an unknown author includes in movement 2 the beginning of Psalm 75, and as the closing chorale the fifth stanza of Johann Gramann's "Nun lob, mein Seel, den Herren". Bach scored the work in eight movements for four vocal parts and a festive Baroque orchestra of three trumpets, timpani, two oboes, strings, an obbligato organ and basso continuo. The organ dominates the first movement Sinfonia which Bach derived from a Partita for violin. The full orchestra accompanies the first choral movement and plays with the voices in the closing chorale, while a sequence of three arias alternating with two recitatives is scored intimately. Bach used the music from the choral movement for both the Gratias agimus tibi and Dona nobis pacem of his Mass in B minor.

Freue dich, erlöste Schar (Rejoice, redeemed flock), BWV 30.2, BWV 30, is a church cantata by Johann Sebastian Bach. It is one of his later realisations in the genre: he composed it for the Feast of John the Baptist (24 June) in 1738, and based its music largely on Angenehmes Wiederau, a secular cantata which he had composed a year earlier. Christian Friedrich Henrici (Picander), the librettist of the secular model of the cantata, is likely also the author of the sacred cantata's version of the text. The cantata's outer choral movements, and its four arias, are parodied from the secular work. Bach recomposed the five recitatives, and added a chorale as conclusion of the first half of the cantata. The cantata is scored for soprano, alto, tenor and bass singers, woodwinds, strings, and continuo. While the earlier composition had also trumpets and timpani in its outer movements, Bach did not copy these parts in his autograph score of the sacred version of the work. Later it was suggested, likely not by the composer, that these parts could be added ad libitum. The 19th-century publication of the cantata by the Bach Gesellschaft (Bach-Gesellschaft Ausgabe, BGA) included these parts in the printed score.

Freue dich, erlöste Schar (Rejoice, redeemed flock), BWV 30.2, BWV 30, is a church cantata by Johann Sebastian Bach. It is one of his later realisations in the genre: he composed it for the Feast of John the Baptist (24 June) in 1738, and based its music largely on Angenehmes Wiederau, a secular cantata which he had composed a year earlier. Christian Friedrich Henrici (Picander), the librettist of the secular model of the cantata, is likely also the author of the sacred cantata's version of the text. The cantata's outer choral movements, and its four arias, are parodied from the secular work. Bach recomposed the five recitatives, and added a chorale as conclusion of the first half of the cantata. The cantata is scored for soprano, alto, tenor and bass singers, woodwinds, strings, and continuo. While the earlier composition had also trumpets and timpani in its outer movements, Bach did not copy these parts in his autograph score of the sacred version of the work. Later it was suggested, likely not by the composer, that these parts could be added ad libitum. The 19th-century publication of the cantata by the Bach Gesellschaft (Bach-Gesellschaft Ausgabe, BGA) included these parts in the printed score.

Der Himmel lacht! Die Erde jubilieret (Heaven laughs! Earth exults), BWV 31, is a church cantata by Johann Sebastian Bach for the first day of Easter. Bach composed the cantata in Weimar and first performed it on 21 April 1715.

O ewiges Feuer, o Ursprung der Liebe (O eternal fire, o source of love), BWV 34 (BWV 34.1), is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for Pentecost Sunday, and it was the basis for a later wedding cantata, BWV 34a, beginning with the same line. Bach led the first performance on 1 June 1727. The librettist of the cantata is unknown. A central contemplative aria for alto, accompanied by two flutes and muted strings, is framed by recitatives, while the two outer movements are performed by the chorus and a festive Baroque instrumental ensemble of three trumpets, timpani, two oboes, strings and continuo. The last movement quotes the conclusion of Psalm 128, "Friede über Israel" (Peace upon Israel). The themes of eternal fire, love, dwelling together and peace suit both occasions, wedding and Pentecost.

O ewiges Feuer, o Ursprung der Liebe (O eternal fire, o source of love), BWV 34 (BWV 34.1), is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for Pentecost Sunday, and it was the basis for a later wedding cantata, BWV 34a, beginning with the same line. Bach led the first performance on 1 June 1727. The librettist of the cantata is unknown. A central contemplative aria for alto, accompanied by two flutes and muted strings, is framed by recitatives, while the two outer movements are performed by the chorus and a festive Baroque instrumental ensemble of three trumpets, timpani, two oboes, strings and continuo. The last movement quotes the conclusion of Psalm 128, "Friede über Israel" (Peace upon Israel). The themes of eternal fire, love, dwelling together and peace suit both occasions, wedding and Pentecost.

Geist und Seele wird verwirret (Spirit and soul become confused), BWV 35, is a church cantata by Johann Sebastian Bach. He composed the solo cantata for alto voice in Leipzig for the twelfth Sunday after Trinity and first performed it on 8 September 1726. Bach composed the cantata in his fourth year as Thomaskantor (musical director) in Leipzig. The text is based on the day's prescribed reading from the Gospel of Mark, the healing of a deaf mute man. The librettist is Georg Christian Lehms, whose poetry Bach had used already in Weimar as the basis for solo cantatas. The text quotes ideas from the gospel and derives from these the analogy that as the tongue of the deaf mute man was opened, the believer should be open to admire God's miraculous deeds. The cantatas for this Sunday have a positive character, which Bach stressed in earlier works for the occasion by including trumpets in the score. In this work, he uses instead an obbligato solo organ in several movements. The cantata is structured in seven movements in two parts, to be performed before and after the sermon. Both parts are opened by an instrumental sinfonia with solo organ, probably derived from concerto music composed earlier in Weimar or Köthen. The alto singer performs a sequence of alternating arias and recitatives, accompanied in all three arias by the organ as an equal partner. The Baroque instrumental ensemble is formed by two oboes, taille, strings and basso continuo. The alto part is demanding and was probably written with a specific singer in mind, as with the two other solo cantatas composed in the same period.

Johann Sebastian Bach composed the church cantata Schwingt freudig euch empor (Soar joyfully upwards), BWV 36, in Leipzig in 1731 for the first Sunday in Advent. He drew on material from previous congratulatory cantatas, beginning with Schwingt freudig euch empor, BWV 36.1 (1725). The Gospel for the Sunday was the Entry into Jerusalem, thus the mood of the secular work matched "the people's jubilant shouts of Hosanna". In a unique structure in Bach's cantatas, he interpolated four movements derived from the former works with four stanzas from two important Advent hymns, to add liturgical focus, three from Luther's "Nun komm, der Heiden Heiland" and one from Nicolai's "Wie schön leuchtet der Morgenstern". He first performed the cantata in its final form of two parts, eight movements, on 2 December 1731.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Schwingt freudig euch empor (Soar joyfully aloft), BWV 36.1 (formerly BWV 36c), is a secular cantata by Johann Sebastian Bach. He composed it in Leipzig, most likely in 1725. There is evidence that the cantata was performed in April or May that year, and that it was re-staged six years later for the 40th birthday of Johann Matthias Gesner. Bach reused parts of the cantata in two other secular cantatas, and in a church cantata for the first Sunday in Advent, Schwingt freudig euch empor, BWV 36.

Wer da gläubet und getauft wird (He who believes and is baptised), BWV 37, is a cantata by Johann Sebastian Bach, a church cantata for the feast of the Ascension of Jesus. Bach composed it in Leipzig and first performed it on 18 May 1724. The work is Bach's first cantata composition for the feast of the Ascension. Surprisingly for a high feast day, it is modestly scored; only two oboes d'amore add to the sound of the regular strings and basso continuo, accompanying four vocal parts. An anonymous poet derived thoughts from the prescribed Gospel, even quoting a verse, but excluded the Ascension itself and concentrated on the Lutheran idea of justification by faith alone. The poet structured the six movements of the cantata in two parts, each concluded by a chorale.

Christ lag in Todes Banden (also spelled Todesbanden; "Christ lay in death's bonds" or "Christ lay in the snares of death"), BWV 4, is a cantata for Easter by German composer Johann Sebastian Bach, one of his earliest church cantatas. It is agreed to be an early work partly for stylistic reasons and partly because there is evidence that it was probably written for a performance in 1707. Bach went on to complete many other works in the same genre, contributing complete cantata cycles for all occasions of the liturgical year. John Eliot Gardiner described it as Bach's "first-known attempt at painting narrative in music". Christ lag in Todes Banden is a chorale cantata, a style in which both text and music are based on a hymn. In this instance, the source was Martin Luther's hymn of the same name, the main hymn for Easter in the Lutheran church. The composition is based on the seven stanzas of the hymn and its tune, which was derived from Medieval models. Bach used the unchanged words of a stanza of the chorale in each of the seven vocal movements, in the format of chorale variations per omnes versus (for all stanzas), and he used its tune as a cantus firmus. After an opening sinfonia, the variations are arranged symmetrically: chorus–duet–solo–chorus–solo–duet–chorus, with the focus on the central fourth stanza about the battle between Life and Death. All movements are in E minor, and Bach achieves variety and intensifies the meaning of the text through many musical forms and techniques. Christ lag in Todes Banden is Bach's first cantata for Easter – in fact, his only extant original composition for the first day of the feast – and his earliest surviving chorale cantata. It was related to his application for a post at a Lutheran church at Mühlhausen. He later twice performed it as Thomaskantor in Leipzig, beginning in 1724 when he first celebrated Easter there. Only this second version survives. It is scored for four vocal parts and a Baroque instrumental ensemble with two components, an instrumental "choir" of cornetto and three trombones doubling the choral voices (only in the 2nd Leipzig performance in 1725 were these used), and a string section of two violins, two violas, and continuo. While this scoring reflects the resources at Bach's disposal (the cornetto and brass players would have been available because of the city band tradition in Leipzig), it was old-fashioned and exemplifies a 17th-century Choralkonzert (chorale concerto) style; the lost scoring of the earlier performances was perhaps similar. Gardiner calls Bach's setting of Luther's hymn "a bold, innovative piece of musical drama", and observes "his total identification with the spirit and letter of Luther's fiery, dramatic hymn".

Darzu ist erschienen der Sohn Gottes (For this the Son of God appeared), BWV 40, is a church cantata by Johann Sebastian Bach. He composed it in 1723, his first year in Leipzig, for the Second Day of Christmas, and first performed it on 26 December that year in both main churches, Thomaskirche and Nikolaikirche. It was the first Christmas cantata Bach composed for Leipzig. The title of the cantata also appears in more modern German as Dazu ist erschienen der Sohn Gottes. The theme of the work is Jesus as the conqueror of the works of the devil, who is frequently mentioned as the serpent. The music is festively scored, using two horns, similar to Part IV of Bach's later Christmas Oratorio. The text by an unknown poet is organised in eight movements, beginning with a choral movement on the biblical text, followed by a sequence of recitatives and arias which is structured as three stanzas from three different hymns. Only two of these hymns are Christmas carols. Bach used the opening chorus for the concluding Cum Sancto Spiritu in his 1738 Missa in F major, BWV 233.

Jesu, nun sei gepreiset (Jesus, now be praised), BWV 41, is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for New Year's Day and first performed it on 1 January 1725. It is based on the hymn of the same name that Johannes Hermann wrote for the same occasion, published in 1591. The feast celebrated also the naming of Jesus, but hymn and cantata, while addressing Jesus by name immediately, focus on the turn of the year in thanks for received blessings and prayers for continued support. The cantata is part of Bach's chorale cantata cycle, the second cycle during his tenure as Thomaskantor that began in 1723. In the style of the cycle, an unknown poet retained the outer stanzas for framing choral movements and paraphrased the middle stanza into four movements for soloists, alternating arias and recitatives. Bach scored the work for four soloists, a four-part choir and a festive Baroque instrumental ensemble of three trumpets and timpani, oboes, strings including a violoncello piccolo da spalla, and basso continuo. The chorale movements with the full orchestra contrast with the inner movements that have been described as chamber music. Bach illustrated the cycle of the years by using material from the first movement, trumpet fanfares, also in the last, ending the work similarly to its beginning.

Am Abend aber desselbigen Sabbats (On the evening, however, of the same Sabbath), BWV 42, is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for the first Sunday after Easter and first performed it on 8 April 1725. The cantata is part of Bach's second cantata cycle during his tenure as Thomaskantor that began in 1723. It is the only cantata of that cycle to begin with a sinfonia. An unknown librettist began the text with a verse from the Gospel reading, from the Resurrection appearances of Jesus in Jerusalem, and included three hymn stanzas: one from "Verzage nicht, o Häuflein klein" by Jakob Fabricius and two from Luther's "Erhalt uns, Herr, bei deinem Wort". Bach structured the cantata in seven movements and scored it for four vocal soloists, a four-part choir only in the closing chorale, and a Baroque instrumental ensemble of two oboes, bassoon, strings and basso continuo.

Gott fähret auf mit Jauchzen ("God goes up with jubilation" or "God has gone up with a shout"), BWV 43, is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for the Feast of the Ascension, and led the first performance on 30 May 1726. The work is part of Bach's third cantata cycle. When Bach wrote the music, he was in his third year as Thomaskantor, the church music director of Leipzig. After two years of composing new cantatas for the occasions of the liturgical year, he began his third year by performing music by others, especially his cousin Johann Ludwig Bach. In Gott fähret auf mit Jauchzen, Bach used his cousin's cantata format, which featured a poem as text, besides quotations from the Old Testament and New Testament and closing chorale music. The Biblical quotations were taken from Psalm 47, which was traditionally understood as a reference to the Ascension, and from the prescribed Gospel for the occasion, Mark 16. The closing chorale is formed by two stanzas from "Du Lebensfürst, Herr Jesu Christ" with text by Johann Rist. Bach structured the cantata in eleven movements, in two parts to be performed before and after the sermon. The opening chorus and the closing chorale are sung by the choir, framing a sequence of alternating recitatives and arias. Bach scored the cantata festively for four vocal soloists, a four-part choir, three trumpets, timpani, two oboes, strings and basso continuo. Due to the long text, the work features short arias and five recitatives, most of them secco. The opening chorus is a complex structure with a slow introduction and several fugal developments.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Johann Sebastian Bach composed the church cantata Jauchzet Gott in allen Landen ("Exult in God in every land" or "Shout for joy to God in all lands") BWV 51, in Leipzig. The work is Bach's only church cantata scored for a solo soprano and trumpet. He composed it for general use (ogni tempo), in other words not for a particular date in the church calendar, although he used it for the 15th Sunday after Trinity: the first known performance was on 17 September 1730 in Leipzig. The work may have been composed earlier, possibly for an occasion at the court of Christian, Duke of Saxe-Weissenfels, for whom Bach had composed the Hunting Cantata and the Shepherd Cantata. The text was written by an unknown poet who took inspiration from various biblical books, especially from psalms, and included as a closing chorale a stanza from the hymn "Nun lob, mein Seel, den Herren". Bach structured the work in five movements, with the solo voice accompanied by a Baroque instrumental ensemble of a virtuoso trumpet, strings and continuo. While the outer movements with the trumpet express extrovert jubilation of God's goodness and his wonders, the central introspective aria, accompanied only by the continuo, conveys a "profound expression of commitment to God". He set the closing chorale as a chorale fantasia, the soprano sings the unadorned melody to a trio of two violins and continuo, leading to an unusual festive fugal Alleluja, in which the trumpet joins. The Bach scholar Klaus Hofmann notes that the work, unusually popular among Bach's church cantatas, is unique in the demanded virtuosity of the soprano and trumpet soloist, and evidences "overflowing jubilation and radiant beauty".

Johann Sebastian Bach composed the church cantata Falsche Welt, dir trau ich nicht (False world, I trust you not), BWV 52, in Leipzig for the 23rd Sunday after Trinity. He led the first performance of the solo cantata for soprano on 24 November 1726.

Widerstehe doch der Sünde (Just resist sin), BWV 54, is a church cantata by Johann Sebastian Bach. He composed the solo cantata for alto in Weimar between 1711 and 1714, and probably performed it on the seventh Sunday after Trinity, 15 July 1714. It is Bach's first extant church cantata for a solo voice. The text of the short work was written by Georg Christian Lehms, for two arias and a connecting recitative. The topic is to resist sin, based on the Epistle of James. The text was published in a 1711 collection, dedicated to the Sunday Oculi. It is not known when Bach composed the work but is assumed that he performed it as part of his monthly cantata productions in 1714 on the seventh Sunday after Trinity, 15 July. The solo voice is accompanied by strings: two violin parts, two viola parts and continuo. The composition begins with a striking dissonant chord.

Ich will den Kreuzstab gerne tragen (lit. 'I will gladly carry the cross-staff'), BWV 56, is a church cantata composed by Johann Sebastian Bach for the 19th Sunday after Trinity. It was first performed in Leipzig on 27 October 1726. The composition is a solo cantata (German: Solokantate) because, apart from the closing chorale, it requires only a single vocal soloist (in this case a bass). The autograph score is one of a few cases where Bach referred to one of his compositions as a cantata. In English, the work is commonly referred to as the Kreuzstab cantata. Bach composed the cantata in his fourth year as Thomaskantor; it is regarded as part of his third cantata cycle. The text was written by Christoph Birkmann, a student of mathematics and theology in Leipzig who collaborated with Bach. He describes in the first person a Christian willing to "carry the cross" as a follower of Jesus. The poet compares life to a voyage towards a harbour, referring indirectly to the prescribed Gospel reading which says that Jesus travelled by boat. The person, at the end, yearns for death as the ultimate destination, to be united with Jesus. This yearning is reinforced by the closing chorale: the stanza "Komm, o Tod, du Schlafes Bruder" ('Come, O death, you brother of sleep') from Johann Franck's 1653 hymn "Du, o schönes Weltgebäude", which uses the imagery of a sea voyage. Bach structured it in five movements, alternating arias and recitatives for a bass soloist, and closing with a four-part chorale. He scored the work for a Baroque instrumental ensemble of three woodwind instruments, three string instrument parts and continuo. An obbligato cello features in the first recitative and an obbligato oboe in the second aria, resulting in different timbres in the four movements for the same voice part. The autograph score and the performance parts are held by the Berlin State Library. The cantata was published in 1863 in volume 12 of the Bach-Gesellschaft Ausgabe (BGA). The Neue Bach-Ausgabe (NBA) published the score in 1990. A critical edition was published by Carus-Verlag in 1999. In his biography of Bach, Albert Schweitzer said the cantata placed "unparalleled demands on the dramatic imagination of the singer," who must "depict convincingly this transition from the resigned expectation of death to the jubilant longing for death." Beginning with a live broadcast in 1939, the cantata has been frequently recorded, with some soloists recording it several times. The closing chorale features in Robert Schneider's 1992 novel, Schlafes Bruder, and its film adaptation, Brother of Sleep.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Ach Gott, wie manches Herzeleid (Ah God, how much heartbreak), BWV 58, is a church cantata by Johann Sebastian Bach. He composed the dialogue cantata in Leipzig for the Sunday after New Year's Day. The text has been attributed to Christoph Birkmann by Christine Blanken of the Bach-Archiv Leipzig. He combined the topics of the readings, the gospel of the Flight into Egypt and teaching about the suffering of Christians from the First Epistle of Peter, in a structure of unusual symmetry with a duet as the first and last of the five movements. Both duets are dialogues of the Soul, represented by a soprano, and Jesus, sung by a bass as the vox Christi (voice of Christ). Both duets are set as a chorale fantasia, combining a stanza from a hymn, sung by the soprano as the cantus firmus, with original poetry set in counterpoint. Both stanzas are sung to the same melody, but come from different hymns, Martin Moller's "Ach Gott, wie manches Herzeleid", and Martin Behm's "Herr Jesu Christ, meins Lebens Licht". While the poet wrote the duets to fit the same music, Bach composed them in contrast, even changing the meter of the tune, to fit the different mood: lamenting heartbreak in the beginning, comfort in the end. Bach scored the work for a small Baroque instrumental ensemble of originally just strings and continuo, probably intended to ease the workload of musicians for the Christmas season. In a later version, he added a trio of oboes to the outer movements. Bach counted the work as part of his cycle of chorale cantatas, which he had begun in 1724. It was presumably first performed on 5 January 1727.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Johann Sebastian Bach composed the church cantata Nun komm, der Heiden Heiland (Now come, Savior of the heathens), BWV 62, in Leipzig for the first Sunday in Advent and first performed it on 3 December 1724. It is based on Martin Luther's Advent hymn "Nun komm, der Heiden Heiland", a paraphrase of the Latin hymn "Veni redemptor gentium". The cantata is part of Bach's chorale cantata cycle, the second cycle during his tenure as Thomaskantor that began in 1723. In the format of this cycle, the text of the first and last stanzas of the hymn is retained unchanged while the text of the inner stanzas was paraphrased by an unknown librettist into a sequence of alternating arias and recitatives. The cantata is opened by a chorale fantasia and closed by a four-part chorale setting. The cantata is scored for four vocal soloists, a four-part choir, and a Baroque instrumental ensemble of horn only to support the chorale melody, two oboes, strings and basso continuo.

Christen, ätzet diesen Tag (Christians, engrave this day), BWV 63, is a church cantata by Johann Sebastian Bach. He composed the Christmas cantata for the First Day of Christmas, possibly in 1713 for the Liebfrauenkirche in Halle. He performed it again for his first Christmas as Thomaskantor in Leipzig, on 25 December 1723.

Sehet, welch eine Liebe hat uns der Vater erzeiget (Behold, what a love has the Father shown to us), BWV 64, is a church cantata by Johann Sebastian Bach. He composed the Christmas cantata in Leipzig in 1723 for the third day of Christmas, which is also the Feast of John the Evangelist, and first performed it on 27 December 1723.

Sie werden aus Saba alle kommen (They will all come forth out of Sheba), BWV 65, is a church cantata by Johann Sebastian Bach. He composed it in 1724 in Leipzig for Epiphany and first performed it on 6 January 1724 as part of his first cantata cycle. Bach wrote the cantata to conclude his first Christmas season as Thomaskantor in Leipzig which had been celebrated with five cantatas, four of them new compositions, the Magnificat and a new Sanctus. The text by an anonymous author, who possibly supplied texts of two of the Christmas cantatas as well, combines the prescribed readings for the feast day, the prophecy from the Book of Isaiah and the Gospel of Matthew about the Wise Men from the East. The librettist begins with a quotation from the prophecy, comments it by a stanza of the early anonymous Christmas carol "Ein Kind geborn zu Bethlehem", says in a sequence of recitatives and arias that the prophecy was fulfilled in Bethlehem, concluding that the Christian should bring his heart as a gift. The cantata ends with a chorale, stanza 10 of Paul Gerhardt's hymn "Ich hab in Gottes Herz und Sinn". Bach festively scored the seven-movement cantata, for two vocal soloists (tenor and bass), a four-part choir and a Baroque instrumental ensemble of two horns, two recorders, two oboes da caccia, strings and basso continuo. All recitatives are secco, but the full orchestra plays for the opening chorus, the last aria and the closing chorale.

This is a sortable list of Bach cantatas, the cantatas composed by Johann Sebastian Bach. His almost 200 extant cantatas are among his important vocal compositions. Many are known to be lost. Bach composed both church cantatas, most of them for specific occasions of the liturgical year of the Lutheran Church, and secular cantatas. Bach's earliest cantatas were written possibly from 1707, the year he moved to Mühlhausen, although he may have begun composing them at his previous post in Arnstadt. He began regular composition of church cantatas in Weimar between 1708 and 1717, writing one cantata per month. In his next position in Köthen, he composed no church cantatas, but secular cantatas for the court. Most of Bach's church cantatas date from his first years as Thomaskantor and director of church music in Leipzig, a position which he took up in 1723. Working for Leipzig's Thomaskirche and Nikolaikirche, it was part of Bach's job to perform a church cantata every Sunday and holiday, conducting soloists, the Thomanerchor and orchestra as part of the church service. In his first year there, starting after Trinity, Bach regularly composed a new cantata every week in his first cantata cycle. The following year, he followed the format, now basing each cantata on a Lutheran hymn in the chorale cantata cycle. He was less rigid over the following years, but still produced new compositions in his third to fifth years, the Picander cycle of 1728–29, and late works known up to 1745. Bach also composed cantatas for other church services such as weddings and Ratswahl (the inauguration of a new town council), and he wrote secular cantatas, around 50 known works, for occasions such as academic functions of the University of Leipzig, and anniversaries and entertainment among the nobility and in society. The list includes both extant cantatas and, as far as known, lost cantatas. It is sortable by the cantata number which equals the number in the Bach-Werke-Verzeichnis (BWV), by title, by occasion during the liturgical year, the year of composition and date of first performance, as far as known. The scoring is provided, grouped by singers and groups of instruments. Colouring shows which cantatas are not extant church cantatas and which works were not even composed by Bach, but attributed to him in the past. A link to the free score of the Bach Gesellschaft in the International Music Score Library Project (IMSLP) is provided if available.

Halt im Gedächtnis Jesum Christ (Keep Jesus Christ in mind), BWV 67, is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for Quasimodogeniti, the first Sunday after Easter, and first performed it on 16 April 1724. Based on the prescribed gospel of the appearance of Jesus to the Disciples, first without then with Thomas, an unknown poet compares the situation of the doubtful Thomas to the Christian in general. He places Nikolaus Herman's Easter hymn "Erschienen ist der herrlich Tag" in the centre of the cantata, repeats the line "Friede sei mit euch" (Peace be with you) several times, and ends with the first stanza from Jakob Ebert's hymn "Du Friedefürst, Herr Jesu Christ" (Thou Prince of Peace, Lord Jesus Christ). Bach structured the work in seven movements, arranged in symmetry around the central chorale, and scored it for three solo voices, a four-part choir and a Baroque instrumental ensemble of a slide horn for hymn tunes, flauto traverso, two oboes d'amore, strings and basso continuo. Besides the unusual central chorale, the cantata contains a dramatic scena with Jesus repeating "Peace be with you" against the enemies.

Also hat Gott die Welt geliebt (God so loved the world), BWV 68, is a cantata by Johann Sebastian Bach, a church cantata for the second day of Pentecost. Bach composed the cantata in Leipzig and first performed it on 21 May 1725. It is one of nine cantatas on texts by Christiana Mariana von Ziegler, which Bach composed at the end of his second annual cycle of cantatas in Leipzig. In a unique structure among Bach's church cantatas, it begins with a chorale and ends with a complex choral movement on a quotation from the Gospel of John. Bach derived the two arias from his Hunting Cantata. He scored the cantata for two soloists, soprano and bass, a four-part choir, and a Baroque instrumental ensemble of a horn, cornett, three trombones, two oboes, taille (tenor oboe), strings and basso continuo.

Lobe den Herrn, meine Seele (Praise the Lord, my soul), BWV 143, is an early cantata by Johann Sebastian Bach. He appears to have composed the cantata for New Year's Day, probably when he was in his 20s, but whether it was first performed in Mühlhausen or Weimar is not known: the date of composition is unclear. Bach's authorship has been doubted because the cantata has several unusual features; one of these is the scoring, it is the only Bach cantata to combine three corni da caccia with timpani. An unknown librettist drew mainly from Psalm 146 and from Jakob Ebert's hymn "Du Friedefürst, Herr Jesu Christ" to develop seven movements, supplying only two of the movements himself. The text assembly is similar to Bach's early cantatas. The cantata is in seven movements which combine the three major text sources: psalm, hymn and contemporary poetry. The opening chorus is based on a psalm verse, followed by the first hymn stanza and another psalm verse as a recitative. An aria on poetry is followed by a third psalm verse as an aria. It is followed by another aria on poetry, which simultaneously quotes the hymn tune instrumentally. The last movement combines elements of a chorale fantasia on the third stanza of the hymn, with vivid counterpoint of "Hallelujah" which closes the psalm.

Lobe den Herrn, meine Seele (Praise the Lord, my soul), BWV 143, is an early cantata by Johann Sebastian Bach. He appears to have composed the cantata for New Year's Day, probably when he was in his 20s, but whether it was first performed in Mühlhausen or Weimar is not known: the date of composition is unclear. Bach's authorship has been doubted because the cantata has several unusual features; one of these is the scoring, it is the only Bach cantata to combine three corni da caccia with timpani. An unknown librettist drew mainly from Psalm 146 and from Jakob Ebert's hymn "Du Friedefürst, Herr Jesu Christ" to develop seven movements, supplying only two of the movements himself. The text assembly is similar to Bach's early cantatas. The cantata is in seven movements which combine the three major text sources: psalm, hymn and contemporary poetry. The opening chorus is based on a psalm verse, followed by the first hymn stanza and another psalm verse as a recitative. An aria on poetry is followed by a third psalm verse as an aria. It is followed by another aria on poetry, which simultaneously quotes the hymn tune instrumentally. The last movement combines elements of a chorale fantasia on the third stanza of the hymn, with vivid counterpoint of "Hallelujah" which closes the psalm.

Christ unser Herr zum Jordan kam (Christ our Lord came to the Jordan), BWV 7, is one of several church cantatas which Johann Sebastian Bach composed for the Feast of St. John the Baptist. He wrote it in Leipzig and led its first performance on 24 June 1724. It is the third cantata Bach composed for his chorale cantata cycle, the second cantata cycle he started after being appointed Thomaskantor in 1723. The cantata is based on the seven stanzas of Martin Luther's hymn "Christ unser Herr zum Jordan kam", about baptism. The first and last stanza of the chorale were used for the outer movements of the cantata, while an unknown librettist paraphrased the inner stanzas of the hymn into the text for the five other movements. The first movement, a chorale fantasia, is followed by a succession of arias alternating with recitatives, leading to a four-part closing chorale. The cantata is scored for three vocal soloists (alto, tenor and bass), a four-part choir, two oboes d'amore, two solo violins, strings and continuo.

Gott ist mein König (God is my King), BWV 71, is a cantata by Johann Sebastian Bach written in Mühlhausen when the composer was 22 years old. Unusually for an early cantata by Bach, the date of first performance is known: at the inauguration of a new town council on 4 February 1708. The text is compiled mainly from biblical sources, three different sections from Psalm 74 and several other verses. In addition, one stanza from Johann Heermann's hymn "O Gott, du frommer Gott" is sung simultaneously with corresponding biblical text, and free poetry by an unknown poet of Bach's time which relates to the political occasion. The cantata in seven movements is scored festively with a Baroque instrumental ensemble including trumpets and timpani, "four separate instrumental 'choirs', set against a vocal consort of four singers, an optional Capelle of ripienists and an organ". Stylistically it shares features with Bach's other early cantatas. Bach, then organist in Mühlhausen's church Divi Blasii, led the performance on 4 February 1708 in the town's main church, the Marienkirche. Although the cantata was planned to be performed only twice, it was printed the same year, the first of his works to be printed and the only cantata extant in print that was printed in Bach's lifetime.

Alles nur nach Gottes Willen ('Everything according to God's will alone'), BWV 72, is a church cantata by Johann Sebastian Bach. He composed it in Leipzig in 1726 for the third Sunday after Epiphany and first performed it on 27 January 1726. It is part of his third cantata cycle and concluded the Christmas season. Bach later used the opening chorus for the Gloria of his Missa in G minor, BWV 235. Bach composed the cantata in his third year as Thomaskantor, setting a libretto which Salomon Franck, his librettist at the ducal court in Weimar, had published in 1715. It is structured in six movements, an opening chorus, two pairs of recitative and aria, and a closing chorale, taken from "Was mein Gott will, das g'scheh allzeit", published by Albert, Duke of Prussia in 1547. The cantata is scored for three soloists, a four-part choir (SATB), and a Baroque instrumental ensemble of two oboes, strings and basso continuo.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Johann Sebastian Bach composed the church cantata Die Elenden sollen essen (The miserable shall eat), BWV 75, for the first Sunday after Trinity. He led its first performance in Leipzig on 30 May 1723, his first Sunday in the position of Thomaskantor. The complex work is in two parts, each consisting of seven movements, and marks the beginning of his first annual cycle of cantatas. Bach composed the cantata at a decisive turning point in his career. After various positions in churches and courts, he assumed the post of Thomaskantor in Leipzig on the first Sunday after Trinity, performing this cantata. In taking this job he in fact became responsible for the church music in four churches of Leipzig, and he began the ambitious project of composing a new cantata for every occasion of the liturgical year. The work's structure is unusual in that it is in two symmetrical parts; seven of the fourteen movements are intended to be performed before the sermon, the other seven after it. The first part's text begins with a quotation from Psalm 22 and contrasts wealth and poverty. The text in the second part is focused on being poor or rich in spirit. Each part is concluded by a stanza of Samuel Rodigast's hymn "Was Gott tut, das ist wohlgetan". Bach scored the cantata for four vocal soloists and a four-part choir (SATB), and a Baroque instrumental ensemble of trumpet, two oboes, oboe d'amore, two violins, viola, and basso continuo including bassoon. Parts I and II are each arranged in the same sequence: an opening movement (which is a chorus in Part I, a sinfonia in Part II), followed by alternating recitatives and arias, and a concluding chorale. The performance was acknowledged in the press, noting that Bach "produced his first music here with great success."

Johann Sebastian Bach composed the church cantata Du sollt Gott, deinen Herren, lieben (You shall love God, your Lord), BWV 77 in Leipzig for the thirteenth Sunday after Trinity and first performed it on 22 August 1723. Bach composed the cantata in his first year as Thomaskantor in Leipzig, where he had begun a first cantata cycle for the occasions of the liturgical year on the first Sunday after Trinity with Die Elenden sollen essen, BWV 75. The cantata text, written by Johann Oswald Knauer, is focused on the prescribed reading for the Sunday, the parable of the Good Samaritan containing the Great Commandment, which is used as the text of the first movement. A pair of recitative and aria deals with the love of God, while a symmetrical pair deals with the love of the neighbour. Bach did not write the text of the closing chorale in the score, but probably his son Johann Christoph Friedrich Bach. Bach scored the cantata for four vocal soloists, mixed choir, tromba da tirarsi, two oboes, strings and continuo. In the first movement Bach uses an instrumental quotation of Luther's hymn on the Ten Commandments, "Dies sind die heilgen zehn Gebot" (These are the holy ten commandments), played by the trumpet in canon with the continuo.

Gott der Herr ist Sonn und Schild, BWV 79, is a church cantata for Reformation Day by Johann Sebastian Bach. He composed it in 1725, his third year in the position of Thomaskantor in Leipzig, and led the first performance on 31 October that year. It is possibly his first cantata for the occasion. The text was written by an unknown poet, who did not refer to the prescribed readings for the day. He began the libretto for the feast with a quotation from Psalm 84 and included two hymn stanzas, the first from Martin Rinckart's "Nun danket alle Gott", associated with Reformation Day in Leipzig, as the third movement, and as the last movement the final stanza of Ludwig Helmbold's "Nun laßt uns Gott dem Herren". Bach composed a work of "festive magnificence", structured in six movements, with an aria following the opening chorus, and a recitative and duet following the first chorale. He scored the work for three vocal soloists, a four-part choir, and a Baroque instrumental ensemble of two horns, timpani, two transverse flutes (added for a later performance), two oboes, strings and continuo. He achieved a unity within the structure by using the horns not only in the opening but also as obbligato instruments in the two chorales, the first time even playing the same motifs. Bach performed the cantata again, probably in 1730. He later reworked the music of the opening chorus and a duet for his Missa in G major, BWV 236, and the music of an alto aria for his Missa in A major, BWV 234.

Ein feste Burg ist unser Gott (A Mighty Fortress Is Our God), BWV 80 (also: BWV 80.3), is a chorale cantata for Reformation Day by Johann Sebastian Bach. He reworked it from one of his Weimar cantatas, Alles, was von Gott geboren, BWV 80a (also: BWV 80.1). The first Leipzig version of the church cantata, BWV 80b (also: BWV 80.2), may have been composed as early as 1723, some five months after Bach had moved to Leipzig. Some years later he reworked the cantata one more time, writing an extended chorale fantasia as its opening movement. The text of the BWV 80a version was written by Salomon Franck and contained one stanza of Martin Luther's hymn "Ein feste Burg ist unser Gott"; for his chorale cantata versions, BWV 80b and 80, Bach added the complete text of this Lutheran hymn. Bach scored the cantata for four vocal soloists, a four-part choir and a Baroque chamber ensemble of up to three oboes of different kinds, strings and continuo. After his death, his son Wilhelm Friedemann Bach arranged the first and fifth movements, adopting a new text and adding trumpets and timpani. Ein feste Burg ist unser Gott was published in 1821, the first of Bach's cantatas published after his death. The Bach Gesellschaft edition appeared half a century later, and included an extended instrumentation by Wilhelm Friedemann.

Ich habe genug (original: Ich habe genung, English: "I have enough" or "I am content"), BWV 82, is a church cantata by Johann Sebastian Bach. He composed the solo cantata for bass in Leipzig in 1727 for the Feast Mariae Reinigung (Purification of Mary) and first performed it on 2 February 1727. In a version for soprano, BWV 82a, possibly first performed in 1731, the part of the obbligato oboe is replaced by a flute. Part of the music appears in the Notebook for Anna Magdalena Bach. The cantata is one of the most recorded and performed of Bach's sacred cantatas. The opening aria and so-called "slumber aria" are regarded as some of the most inspired creations of Bach.

Ich bin ein guter Hirt (I am a Good Shepherd), BWV 85, is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for the second Sunday after Easter and first performed it on 15 April 1725. He wrote the cantata in the second calendar year of his tenure as Thomaskantor that began in May 1723, but he assigned it to his third cantata cycle. An unknown librettist included a verse from the Gospel reading and stanzas from two hymns, one from "Ist Gott mein Schild und Helfersmann" by Ernst Christoph Homberg and one from "Der Herr ist mein getreuer Hirt" by Cornelius Becker. The topic is Jesus as the Good Shepherd. Bach structured the cantata in six movements and scored it for four vocal soloists, a four-part choir only in the closing chorale, and a Baroque instrumental ensemble of two oboes, bassoon, strings and basso continuo.

Wahrlich, wahrlich, ich sage euch (Truly, truly I say to you), BWV 86, is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for Rogate, the fifth Sunday after Easter, and first performed it on 14 May 1724. An unknown poet began the text with a quotation from the Farewell Discourse of Jesus. He used a stanza of Georg Grünwald's hymn "Kommt her zu mir, spricht Gottes Sohn" in movement 3 and as the closing chorale a stanza from "Es ist das Heil uns kommen her" by Paul Speratus (1524). Bach structured the cantata in six movements, a gospel quotation in the beginning, chorales as movements 3 and 6, otherwise recitatives and arias. He scored it for three vocal soloists, a four-part choir and a Baroque instrumental ensemble of two oboes d'amore, strings and continuo.

Bisher habt ihr nichts gebeten in meinem Namen (Until now you have asked for nothing in My name), BWV 87, is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for Rogate, the fifth Sunday after Easter, and first performed it on 6 May 1725. It is the third of nine cantatas on texts by Christiana Mariana von Ziegler, with whom Bach collaborated at the end of his second cantata cycle. She used a quotation from the prescribed gospel from the Farewell Discourse and closed the cantata with a stanza the ninth stanza of Heinrich Müller's 1659 hymn "Selig ist die Seele". Its theme is man in the world depicted as a place of tribulation, in need of forgiveness, but with hope to overcome in prayer and love. Bach scored the cantata for three vocal soloists (alto, tenor and bass), a four-part choir only for the closing chorale, and a Baroque instrumental ensemble of two oboes, two oboes da caccia, strings and continuo.

Gelobet seist du, Jesu Christ (Praise be to You, Jesus Christ), BWV 91, is a church cantata by Johann Sebastian Bach. He wrote the Christmas cantata in Leipzig in 1724 for Christmas Day and first performed it on 25 December. It is based on the hymn "Gelobet seist du, Jesu Christ" by Martin Luther which was 200 years old when Bach wrote the work. The cantata belongs to Bach's chorale cantata cycle, the second cantata cycle during his tenure as Thomaskantor that began in 1723. The cantata text retains the first and last stanza of the chorale unchanged for a chorale fantasia and a four-part chorale setting, while an unknown librettist paraphrased the inner stanzas into alternating recitatives and arias. The cantata is scored for four vocal soloists, a four-part choir, and a Baroque instrumental ensemble of two horns, timpani, three oboes, strings and basso continuo.

Ich hab in Gottes Herz und Sinn (I have given over to God's heart and mind), BWV 92, is a church cantata by Johann Sebastian Bach for use in the Lutheran service. He composed the chorale cantata in Leipzig for Septuagesimae and first performed it on 28 January 1725. It is based on the 1647 hymn "Ich hab in Gottes Herz und Sinn" by Paul Gerhardt, and is the only chorale cantata Bach based on a hymn by Gerhardt. The chorale revolves around faith in God and submission to his will. In nine movements, it is one of Bach's longer cantatas in terms of structure, text and music. Ich hab in Gottes Herz und Sinn belongs to Bach's chorale cantata cycle, the second cycle during his tenure as Thomaskantor that had begun in 1723. An unknown librettist retained, unusually for the format in this cycle, five stanzas of the chorale with unchanged text and using the hymn tune, in five different settings. Other stanzas were paraphrased into texts for alternating recitatives and arias, and two of the retained stanzas were expanded by explaining text. The cantata is scored for four vocal soloists, a four-part choir, and a Baroque instrumental ensemble of oboes d'amore, strings and basso continuo.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Was frag ich nach der Welt (What should I ask of the world), BWV 94 is one of many church cantatas composed by Johann Sebastian Bach. He composed it in Leipzig, setting a text appropriate for the Ninth Sunday after Trinity Sunday, and first performed it on 6 August 1724. Bach aimed to produce more than one cantata for each occasion in the liturgical year, and Was frag ich nach der Welt belongs to the second cantata cycle that he started after being appointed Thomaskantor in 1723. The work is a chorale cantata, like most of the second cycle, and the work thus also belongs to another cycle, the chorale cantata cycle. The cantata is based on the eight stanzas of the 1664 hymn of the same name by Balthasar Kindermann, with a melody by Ahasverus Fritsch. An unknown librettist retained five chorale stanzas, expending two of those by madrigal text for recitatives, and rephrased the other three into aria texts. The cantata is framed by choral movements, a chorale fantasia at the beginning and a closing chorale setting. The cantata is scored for four vocal soloists (soprano, alto, tenor and bass), a four-part choir, and a baroque instrumental ensemble of a flauto traverso, two oboes, two violins, viola, organ and continuo. The flute plays a prominent concertante role.

Johann Sebastian Bach composed the church cantata Christus, der ist mein Leben (Christ, he is my life), BWV 95 in Leipzig for the 16th Sunday after Trinity and first performed it on 12 September 1723.

In allen meinen Taten (In all that I do / In all my undertakings), BWV 97, is a church cantata by Johann Sebastian Bach. He composed the chorale cantata in Leipzig in 1734 for an unspecified occasion. The text consists of the unchanged words of the hymn by Paul Fleming (1642).

"Was Gott tut, das ist wohlgetan" (What God Ordains Is Always Good) is a Lutheran hymn written by the pietist German poet and schoolmaster Samuel Rodigast in 1675. The melody has been attributed to the cantor Severus Gastorius. An earlier hymn with the same title was written in the first half of the seventeenth century by the theologian Michael Altenburg.

Johann Sebastian Bach composed the church cantata Was Gott tut, das ist wohlgetan (What God does is well done), BWV 99, in Leipzig for the 15th Sunday after Trinity and first performed it on 17 September 1724. The chorale cantata is based on the hymn "Was Gott tut, das ist wohlgetan" by Samuel Rodigast (1674). Was Gott tut, das ist wohlgetan belongs to Bach's chorale cantata cycle, the second cycle during his tenure as Thomaskantor that began in 1723. The text retains the first and last stanza of the hymn unchanged, while the text of the inner stanzas was paraphrased by an unknown librettist into a sequence of four movements of alternating recitatives and arias, retaining some lines from the original chorale. The first movement is a chorale fantasia, and the work is closed by a four-part chorale setting. The cantata is scored for four vocal soloists, a four-part choir, and a Baroque instrumental ensemble of flauto traverso, oboe d'amore, strings and basso continuo, with a horn doubling the soprano in the outer movements.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

"Christ lag in Todesbanden" (also "... in Todes Banden"; "Christ lay in death's bonds") is an Easter hymn by Martin Luther. Its melody is by Luther and Johann Walter. Both the text and the melody were based on earlier examples. It was published in 1524 in the Erfurt Enchiridion and in Walter's choral hymnal Eyn geystlich Gesangk Buchleyn. Various composers, including Pachelbel, Bach and Telemann, have used the hymn in their compositions.

"Christ lag in Todesbanden" (also "... in Todes Banden"; "Christ lay in death's bonds") is an Easter hymn by Martin Luther. Its melody is by Luther and Johann Walter. Both the text and the melody were based on earlier examples. It was published in 1524 in the Erfurt Enchiridion and in Walter's choral hymnal Eyn geystlich Gesangk Buchleyn. Various composers, including Pachelbel, Bach and Telemann, have used the hymn in their compositions.

"Christ lag in Todesbanden" (also "... in Todes Banden"; "Christ lay in death's bonds") is an Easter hymn by Martin Luther. Its melody is by Luther and Johann Walter. Both the text and the melody were based on earlier examples. It was published in 1524 in the Erfurt Enchiridion and in Walter's choral hymnal Eyn geystlich Gesangk Buchleyn. Various composers, including Pachelbel, Bach and Telemann, have used the hymn in their compositions.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

The Bach-Werke-Verzeichnis (German: [ˈbax ˌvɛʁkə fɐˈtsaɪçnɪs], lit. 'Bach Works Catalogue'; BWV) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990 and the third edition in 2022. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. In part this reflects the fact that some compositions cannot be dated. However, an approximate or precise date can be assigned to others: for example, BWV 992 was composed many years before BWV 1.

Most of Johann Sebastian Bach's extant church music in Latin—settings of (parts of) the Mass ordinary and of the Magnificat canticle—dates from his Leipzig period (1723–50). Bach started to assimilate and expand compositions on a Latin text by other composers before his tenure as Thomaskantor in Leipzig, and he continued to do so after he had taken up that post. The text of some of these examples by other composers was a mixture of German and Latin: also Bach contributed a few works employing both languages in the same composition, for example his early Kyrie "Christe, du Lamm Gottes". The bulk of Bach's sacred music, many hundreds of compositions such as his church cantatas, motets, Passions, oratorios, four-part chorales and sacred songs, was set to a German text, or incorporated one or more melodies associated with the German words of a Lutheran hymn. His output of music on a Latin text, comprising less than a dozen of known independent compositions, was comparatively small: in Lutheranism, and Bach was a Lutheran, church services were generally in the native tongue, which was German for the places where Bach was employed. A few traditional Latin texts, such as the Magnificat and some excerpts of the Mass liturgy, had however not been completely banned from worship practice during the Protestant Reformation. It depended on local traditions whether any of such Latin texts were used in church services occasionally. In Leipzig, compared to Lutheran practice elsewhere, an uncharacteristic amount of Latin was used in church: it included music on Latin texts being performed on ordinary Sundays, on high holidays (Christmas, Easter, Pentecost), and the Magnificat also on Marian feasts (Annunciation, Visitation, Purification). In his first years in Leipzig Bach produced a Latin Magnificat and several settings of the Sanctus. In 1733 he composed a large-scale Kyrie–Gloria Mass for the Catholic court in Dresden. Around the same time he produced the final version of his Magnificat. Probably around 1738–39 he wrote four more Kyrie–Gloria Masses, to a large extent based on earlier compositions. From around 1740 there was an increase of Bach copying and arranging stile antico Latin church music by other composers, which sheds light on a style shift towards more outspoken polyphonic and canonic structures in his own compositions in the last decade of his life. In the last years of his life Bach extracted a cantata on a Latin text from his 1733 Kyrie–Gloria Mass, and finally integrated that Mass, and various other earlier compositions, into his Mass in B minor. Bach's involvement with Latin church music thus stemmed from several circumstances: Assimilating music on a Latin text by other composers (e.g. Bach's German version of Pergolesi's Stabat Mater); A certain, but limited, demand for Latin church music in the places where he was employed as church musician (e.g. his Magnificat); Bach reaching outside the confines of the circumstances of his employment, e.g. soliciting an appointment as Royal and Prince-Electoral court composer with his 1733 Kyrie-Gloria Mass. That being identifiable motivations for his involvement with Latin church music, some questions remain however without conclusive answer, including: Did he compose the four Kyrie-Gloria Masses BWV 233–236 for Leipzig or for elsewhere? As Bach generally only composed music for which he had a performance opportunity in mind, which performance opportunity, if any, could he have been thinking of for his Mass in B minor? From the early 19th century there was a renewed attention for Bach and his music: his Latin church music, including BWV Anh. 167 (published as a composition by Bach in 1805), the Magnificat (published in 1811), BWV 234 (published in 1818) and the Mass in B minor (heralded as "the greatest musical art work of all times and nations" in 1818), received a fair share of that renewed attention – the first 19th-century publication of a work for voices and orchestra on a German text only followed in 1821. In the second half of the 20th century Bach's compositions on a Latin text were grouped in the third chapter of the Bach-Werke-Verzeichnis.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

The Christmas Oratorio (German: Weihnachtsoratorium), BWV 248, is an oratorio by Johann Sebastian Bach intended for performance in church during the Christmas season. It is in six parts, each part a cantata intended for performance in a church service on a feast day of the Christmas period. It was written for the Christmas season of 1734 and incorporates music from earlier compositions, including three secular cantatas written during 1733 and 1734 and a largely lost church cantata, BWV 248a. The date is confirmed in Bach's autograph manuscript. The next complete public performance was not until 17 December 1857 by the Sing-Akademie zu Berlin under Eduard Grell. The Christmas Oratorio is a particularly sophisticated example of parody music. The author of the text is unknown, although a likely collaborator was Christian Friedrich Henrici (Picander). The work belongs to a group of three oratorios written in 1734 and 1735 for major feasts, the other two works being the Ascension Oratorio (BWV 11) and the Easter Oratorio (BWV 249). All three of these oratorios to some degree parody earlier compositions. The Christmas Oratorio is by far the longest and most complex work of the three. The first part (for Christmas Day) describes the birth of Jesus; the second (for 26 December) the annunciation to the shepherds; the third (for 27 December) the adoration of the shepherds; the fourth (for New Year's Day) the circumcision and naming of Jesus; the fifth (for the first Sunday after New Year) the journey of the Magi; and the sixth (for Epiphany) the adoration of the Magi. The running time for the entire oratorio is around three hours. In concert performance, it is often presented split into two parts.

The Bach-Werke-Verzeichnis (German: [ˈbax ˌvɛʁkə fɐˈtsaɪçnɪs], lit. 'Bach Works Catalogue'; BWV) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990 and the third edition in 2022. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. In part this reflects the fact that some compositions cannot be dated. However, an approximate or precise date can be assigned to others: for example, BWV 992 was composed many years before BWV 1.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Gottfried Vopelius (28 January 1645 – 3 February 1715), was a German Lutheran academic and hymn-writer, mainly active in Leipzig. He was born in Herwigsdorf, now a district of Rosenbach, Oberlausitz, and died in Leipzig at the age of 70.

Johann Sebastian Bach (31 March [O.S. 21 March] 1685 – 28 July 1750) was a German composer and musician of the late Baroque period. He is known for his prolific output across a variety of instruments and forms, including the orchestral Brandenburg Concertos; solo instrumental works such as the Cello Suites and Sonatas and Partitas for Solo Violin; keyboard works such as the Goldberg Variations and The Well-Tempered Clavier; organ works such as the Schübler Chorales and the Toccata and Fugue in D minor; and choral works such as the St. Matthew Passion and the Mass in B minor. He is known for his mastery of counterpoint, as heard in The Musical Offering and The Art of Fugue. Felix Mendelssohn precipitated the Bach Revival with a performance of the St. Matthew Passion in 1829. Ever since, Bach has been acclaimed as one of the greatest composers of classical music. The Bach family had already produced several composers when Johann Sebastian was born in Eisenach, the youngest child of the city musician Johann Ambrosius Bach. After being orphaned at age 10, he lived for five years with his eldest brother, Johann Christoph, then continued his musical education in Lüneburg. In 1703 he returned to Thuringia, working as a musician for Protestant churches in Arnstadt and Mühlhausen. Around that time he also paid extended visits to the courts in Weimar, where he expanded his organ repertory, and the reformed court at Köthen, where he was mostly engaged with chamber music. By 1723 he was hired as Thomaskantor, church music director of the city of Leipzig and thus responsible for music in four Lutheran city churches and for the St. Thomas School. He decided to compose annual cycles of church cantatas, and also wrote music for Leipzig University's student ensemble, Collegium Musicum. In 1726 he began publishing his organ and other keyboard music. In Leipzig, he had difficult relations with his employer, as he had during some of his earlier positions. This situation was somewhat remedied when his sovereign, Augustus III of Poland, granted him the title of court composer of the Elector of Saxony in 1736. In the last decades of his life, Bach reworked and extended many of his earlier compositions. He died due to complications following eye surgery in 1750 at the age of 65. Four of his twenty children, Wilhelm Friedemann, Carl Philipp Emanuel, Johann Christoph Friedrich, and Johann Christian, became composers. Bach enriched established German styles through his mastery of counterpoint, harmonic and motivic organisation, and his adaptation of rhythms, forms, and textures from abroad, particularly Italy and France. His compositions include hundreds of cantatas, both sacred and secular. He composed Latin church music, Passions, oratorios, and motets. He adopted Lutheran hymns, not only in his larger vocal works but also in such works as his four-part chorales and his sacred songs. Bach wrote extensively for organ and other keyboard instruments. He composed concertos, for instance for violin and for harpsichord, and suites, as chamber music as well as for orchestra. Many of his works use contrapuntal techniques like canon and fugue. Several decades after his death, in the 18th century, Bach was still primarily known as an organist. Several biographies of Bach were published in the 19th century, and by the end of that century all of his known music had been printed. Dissemination of Bach scholarship continued through periodicals (and later websites) devoted to him, other publications such as the Bach-Werke-Verzeichnis (BWV, a numbered catalogue of his works), and new critical editions of his compositions. His music was further popularised by a multitude of arrangements, including the "Air on the G String" and "Jesu, Joy of Man's Desiring", and recordings, among them three boxed sets of performances of his complete oeuvre marking the 250th anniversary of his death.

The Bach-Werke-Verzeichnis (German: [ˈbax ˌvɛʁkə fɐˈtsaɪçnɪs], lit. 'Bach Works Catalogue'; BWV) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990 and the third edition in 2022. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. In part this reflects the fact that some compositions cannot be dated. However, an approximate or precise date can be assigned to others: for example, BWV 992 was composed many years before BWV 1.

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 (BWV 250–252), 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.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Der Geist hilft unser Schwachheit auf (The Spirit gives aid to our weakness), BWV 226, is a motet by Johann Sebastian Bach, composed in Leipzig in 1729 for the funeral of Johann Heinrich Ernesti.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Songs and arias by Johann Sebastian Bach are compositions listed in Chapter 6 of the Bach-Werke-Verzeichnis (BWV 439–524), which also includes the Quodlibet. Most of the songs and arias included in this list are set for voice and continuo. Most of them are also spiritual, i.e. hymn settings, although a few have a worldly theme. The best known of these, "Bist du bei mir", was however not composed by Bach. An aria by Bach was rediscovered in the 21st century, and was assigned the number BWV 1127. Further hymn settings and arias by Bach are included in his cantatas, motets, masses, passions, oratorios and chorale harmonisations (BWV 1–438 and later additions). The second Anhang of the BWV catalogue also lists a few songs of doubtful authenticity.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

The Bach-Werke-Verzeichnis (German: [ˈbax ˌvɛʁkə fɐˈtsaɪçnɪs], lit. 'Bach Works Catalogue'; BWV) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990 and the third edition in 2022. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. In part this reflects the fact that some compositions cannot be dated. However, an approximate or precise date can be assigned to others: for example, BWV 992 was composed many years before BWV 1.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

"Dies sind die heilgen zehn Gebot" (These are the holy Ten Commandments) is a hymn by the Protestant reformer Martin Luther based on the Ten Commandments. It appeared first in 1524 in the Erfurt Enchiridion.

"Dir, dir, Jehova, will ich singen" (To you, to you, Jehova, I want to sing) is a Lutheran hymn, with 1695 text by Bartholomäus Crasselius. A melody attributed to Johann Sebastian Bach appeared in Schemellis Gesangbuch. It was translated into English by Catherine Winkworth in 1863 as "Jehovah, let me now adore Thee". The song became part of many German hymnals, such as Evangelisches Gesangbuch and Gotteslob. From the 1930s, the hymn has often been rendered as "Dir, dir, o Höchster, will ich singen".

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

"Du, o schönes Weltgebäude" (You, O beautiful building of the world) is a Lutheran hymn in German, with text by Johann Franck and melody by Johann Crüger. It was first published in Crüger's 1649 Geistliche Kirchen-Melodien, and was later adopted in other hymnals, such as the 1653 edition of his Praxis pietatis melica. The topic is renouncing the world, hoping to be united with Jesus. While the hymn is no longer in practical use, one stanza, "Komm, o Tod, du Schlafes Bruder" (Come, O death, to sleep a brother), was prominently used in Bach's solo cantata Ich will den Kreuzstab gerne tragen, BWV 56; in English, it is commonly referred to as the "Kreuzstab cantata".

The Easter Oratorio (Latin: Oratorium Festo Paschali; German: Oster-Oratorium), BWV 249, is an oratorio by Johann Sebastian Bach. He wrote an autograph score in Leipzig in 1738 under this title, matching his Christmas Oratorio and Ascension Oratorio. Bach had already composed the work in 1725, when he used most of its music for two compositions, the congratulatory Shepherd Cantata, BWV 249a (BWV 249.1), and a church cantata for Easter Sunday, Kommt, gehet und eilet ('Come, go and hurry'), BWV 249.3, that later became the oratorio. The two 1725 works, premiered a few weeks apart, are both musical dramas involving characters: in the secular cantata two shepherds and two shepherdesses, and in the Easter cantata four Biblical figures from the Easter narratives in the Gospel of Luke and other Evangelists. In the oratorio, Bach assigned the music to voice parts instead. Bach performed the Shepherd Cantata on 23 February 1725 for his patron Christian, Duke of Saxe-Weissenfels. Its text was written by Picander, in his first documented collaboration with Bach. Picander may also have adapted his text for the Easter cantata that Bach first performed on Easter Sunday, 1 April 1725, in both a morning service at the Nikolaikirche and a vespers service at the Thomaskirche. In 1738, Bach revised the Easter cantata as the Easter Oratorio, BWV 249.4. He wrote an autograph manuscript of the score with the title Oratorium Festo Paschali (Easter Oratorio), making only minor changes to text and music. This version is also known as Kommt, eilet und laufet ('Come, hasten and run'). Uniquely among Bach's oratorios, it features no original Biblical text, no Evangelist narrator, and no chorale. The work is structured in eleven movements. Two contrasting instrumental movements are followed by a duet for tenor and bass, assigned in the cantata to two disciples running to the tomb of Jesus, where they meet two women who followed Jesus (soprano and alto). The middle movements are alternating recitatives in conversation, and arias of contemplation. The final movement is a chorus of thanksgiving. The music is scored for a festive Baroque instrumental ensemble of three trumpets, timpani, a variety of wind instruments, strings and continuo. In the 1740s, Bach again revised the work (BWV 249.5), which he seems to have regarded highly, arranging the third movement partly for choir. He performed the oratorio once more in 1749, the year before his death. Early Bach scholars, beginning with his biographer Philipp Spitta, were critical of the Easter Oratorio because of its libretto and its character as a musical drama. When the relation to the Shepherd Cantata was discovered in 1940, criticism of the parody music was added. In more recent studies, Christoph Wolff evaluates it as a skillful transformation "from theatrical into devotional music", and Markus Rathey sees the oratorio as a sequel to the St John Passion, "continuing the dramatic narrative but also its theological and musical interpretation".

"A Mighty Fortress Is Our God" (originally written in German with the title "Ein feste Burg ist unser Gott") is one of the best known hymns by the Protestant Reformer Martin Luther, a prolific hymnwriter. Luther wrote the words and composed the hymn tune between 1527 and 1529. It has been translated into English at least seventy times and also into many other languages. The words are mostly original, although the first line paraphrases that of Psalm 46.

"A Mighty Fortress Is Our God" (originally written in German with the title "Ein feste Burg ist unser Gott") is one of the best known hymns by the Protestant Reformer Martin Luther, a prolific hymnwriter. Luther wrote the words and composed the hymn tune between 1527 and 1529. It has been translated into English at least seventy times and also into many other languages. The words are mostly original, although the first line paraphrases that of Psalm 46.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

Songs and arias by Johann Sebastian Bach are compositions listed in Chapter 6 of the Bach-Werke-Verzeichnis (BWV 439–524), which also includes the Quodlibet. Most of the songs and arias included in this list are set for voice and continuo. Most of them are also spiritual, i.e. hymn settings, although a few have a worldly theme. The best known of these, "Bist du bei mir", was however not composed by Bach. An aria by Bach was rediscovered in the 21st century, and was assigned the number BWV 1127. Further hymn settings and arias by Bach are included in his cantatas, motets, masses, passions, oratorios and chorale harmonisations (BWV 1–438 and later additions). The second Anhang of the BWV catalogue also lists a few songs of doubtful authenticity.

The Bach-Werke-Verzeichnis (German: [ˈbax ˌvɛʁkə fɐˈtsaɪçnɪs], lit. 'Bach Works Catalogue'; BWV) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990 and the third edition in 2022. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. In part this reflects the fact that some compositions cannot be dated. However, an approximate or precise date can be assigned to others: for example, BWV 992 was composed many years before BWV 1.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Songs and arias by Johann Sebastian Bach are compositions listed in Chapter 6 of the Bach-Werke-Verzeichnis (BWV 439–524), which also includes the Quodlibet. Most of the songs and arias included in this list are set for voice and continuo. Most of them are also spiritual, i.e. hymn settings, although a few have a worldly theme. The best known of these, "Bist du bei mir", was however not composed by Bach. An aria by Bach was rediscovered in the 21st century, and was assigned the number BWV 1127. Further hymn settings and arias by Bach are included in his cantatas, motets, masses, passions, oratorios and chorale harmonisations (BWV 1–438 and later additions). The second Anhang of the BWV catalogue also lists a few songs of doubtful authenticity.

Songs and arias by Johann Sebastian Bach are compositions listed in Chapter 6 of the Bach-Werke-Verzeichnis (BWV 439–524), which also includes the Quodlibet. Most of the songs and arias included in this list are set for voice and continuo. Most of them are also spiritual, i.e. hymn settings, although a few have a worldly theme. The best known of these, "Bist du bei mir", was however not composed by Bach. An aria by Bach was rediscovered in the 21st century, and was assigned the number BWV 1127. Further hymn settings and arias by Bach are included in his cantatas, motets, masses, passions, oratorios and chorale harmonisations (BWV 1–438 and later additions). The second Anhang of the BWV catalogue also lists a few songs of doubtful authenticity.

Songs and arias by Johann Sebastian Bach are compositions listed in Chapter 6 of the Bach-Werke-Verzeichnis (BWV 439–524), which also includes the Quodlibet. Most of the songs and arias included in this list are set for voice and continuo. Most of them are also spiritual, i.e. hymn settings, although a few have a worldly theme. The best known of these, "Bist du bei mir", was however not composed by Bach. An aria by Bach was rediscovered in the 21st century, and was assigned the number BWV 1127. Further hymn settings and arias by Bach are included in his cantatas, motets, masses, passions, oratorios and chorale harmonisations (BWV 1–438 and later additions). The second Anhang of the BWV catalogue also lists a few songs of doubtful authenticity.

The Bach-Werke-Verzeichnis (German: [ˈbax ˌvɛʁkə fɐˈtsaɪçnɪs], lit. 'Bach Works Catalogue'; BWV) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990 and the third edition in 2022. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. In part this reflects the fact that some compositions cannot be dated. However, an approximate or precise date can be assigned to others: for example, BWV 992 was composed many years before BWV 1.

The Bach-Werke-Verzeichnis (German: [ˈbax ˌvɛʁkə fɐˈtsaɪçnɪs], lit. 'Bach Works Catalogue'; BWV) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990 and the third edition in 2022. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. In part this reflects the fact that some compositions cannot be dated. However, an approximate or precise date can be assigned to others: for example, BWV 992 was composed many years before BWV 1.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

The Bach-Werke-Verzeichnis (German: [ˈbax ˌvɛʁkə fɐˈtsaɪçnɪs], lit. 'Bach Works Catalogue'; BWV) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990 and the third edition in 2022. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. In part this reflects the fact that some compositions cannot be dated. However, an approximate or precise date can be assigned to others: for example, BWV 992 was composed many years before BWV 1.

Fürchte dich nicht (Do not fear), BWV 228, is a motet for a funeral by Johann Sebastian Bach, set for double chorus. The work in two movements draws its text from the Book of Isaiah and a hymn by Paul Gerhardt. Scholars disagree about the composition time and place which was traditionally believed to be 1726 in Leipzig, while more recent scholarship suggests for stylistic reasons that it was composed earlier during the years Bach lived in Weimar.

The title Notebook for Anna Magdalena Bach (German: Notenbüchlein für Anna Magdalena Bach) refers to either of two manuscript notebooks that the German Baroque composer Johann Sebastian Bach presented to his second wife, Anna Magdalena. Keyboard music (minuets, rondeaux, polonaises, chorales, sonatas, preludes, musettes, marches, gavottes) makes up most of both notebooks, and a few pieces for voice (songs, and arias) are included. The Notebooks provide a glimpse into the domestic music of the 18th century and the musical tastes of the Bach family. The second notebook contains a mixture of pieces known to be by J. S. Bach, pieces known to be by others, and pieces whose authorship is unknown or debated.

"Gelobet seist du, Jesu Christ" ("Praise be to You, Jesus Christ") is a Lutheran hymn, written by Martin Luther in 1524. It was first published in 1524 in the Eyn geystlich Gesangk Buchleyn. For centuries the chorale has been the prominent hymn (Hauptlied) for Christmas Day in German speaking Lutheranism, but has also been used in different translations internationally. It has appeared in hymnals of various denominations including the Catholic Church.

The Bach-Werke-Verzeichnis (German: [ˈbax ˌvɛʁkə fɐˈtsaɪçnɪs], lit. 'Bach Works Catalogue'; BWV) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990 and the third edition in 2022. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. In part this reflects the fact that some compositions cannot be dated. However, an approximate or precise date can be assigned to others: for example, BWV 992 was composed many years before BWV 1.

The title Notebook for Anna Magdalena Bach (German: Notenbüchlein für Anna Magdalena Bach) refers to either of two manuscript notebooks that the German Baroque composer Johann Sebastian Bach presented to his second wife, Anna Magdalena. Keyboard music (minuets, rondeaux, polonaises, chorales, sonatas, preludes, musettes, marches, gavottes) makes up most of both notebooks, and a few pieces for voice (songs, and arias) are included. The Notebooks provide a glimpse into the domestic music of the 18th century and the musical tastes of the Bach family. The second notebook contains a mixture of pieces known to be by J. S. Bach, pieces known to be by others, and pieces whose authorship is unknown or debated.

The title Notebook for Anna Magdalena Bach (German: Notenbüchlein für Anna Magdalena Bach) refers to either of two manuscript notebooks that the German Baroque composer Johann Sebastian Bach presented to his second wife, Anna Magdalena. Keyboard music (minuets, rondeaux, polonaises, chorales, sonatas, preludes, musettes, marches, gavottes) makes up most of both notebooks, and a few pieces for voice (songs, and arias) are included. The Notebooks provide a glimpse into the domestic music of the 18th century and the musical tastes of the Bach family. The second notebook contains a mixture of pieces known to be by J. S. Bach, pieces known to be by others, and pieces whose authorship is unknown or debated.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Songs and arias by Johann Sebastian Bach are compositions listed in Chapter 6 of the Bach-Werke-Verzeichnis (BWV 439–524), which also includes the Quodlibet. Most of the songs and arias included in this list are set for voice and continuo. Most of them are also spiritual, i.e. hymn settings, although a few have a worldly theme. The best known of these, "Bist du bei mir", was however not composed by Bach. An aria by Bach was rediscovered in the 21st century, and was assigned the number BWV 1127. Further hymn settings and arias by Bach are included in his cantatas, motets, masses, passions, oratorios and chorale harmonisations (BWV 1–438 and later additions). The second Anhang of the BWV catalogue also lists a few songs of doubtful authenticity.

The Bach-Werke-Verzeichnis (German: [ˈbax ˌvɛʁkə fɐˈtsaɪçnɪs], lit. 'Bach Works Catalogue'; BWV) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990 and the third edition in 2022. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. In part this reflects the fact that some compositions cannot be dated. However, an approximate or precise date can be assigned to others: for example, BWV 992 was composed many years before BWV 1.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

The Bach-Werke-Verzeichnis (German: [ˈbax ˌvɛʁkə fɐˈtsaɪçnɪs], lit. 'Bach Works Catalogue'; BWV) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990 and the third edition in 2022. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. In part this reflects the fact that some compositions cannot be dated. However, an approximate or precise date can be assigned to others: for example, BWV 992 was composed many years before BWV 1.

The Bach-Werke-Verzeichnis (German: [ˈbax ˌvɛʁkə fɐˈtsaɪçnɪs], lit. 'Bach Works Catalogue'; BWV) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990 and the third edition in 2022. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. In part this reflects the fact that some compositions cannot be dated. However, an approximate or precise date can be assigned to others: for example, BWV 992 was composed many years before BWV 1.

"Old Hundredth" (also known as "Old Hundred") is a hymn tune in long metre, from the second edition of the Genevan Psalter. It is one of the best known melodies in many occidental Christian musical traditions. The tune is usually attributed to the French composer Louis Bourgeois (c. 1510 – c. 1560). Although the tune was first associated with Psalm 134 in the Genevan Psalter, the melody receives its current name from an association with the 100th Psalm, in a translation by William Kethe titled "All People that on Earth do Dwell". The melody is also sung to various other lyrics, including the Common Doxology ("Praise God From Whom All Blessings Flow") and various German Lutheran chorales. In that latter respect it was used by Johann Sebastian Bach as a cantus firmus in his chorale cantata Herr Gott, dich loben alle wir (BWV 130).

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

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 (BWV 250–252), 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.

Songs and arias by Johann Sebastian Bach are compositions listed in Chapter 6 of the Bach-Werke-Verzeichnis (BWV 439–524), which also includes the Quodlibet. Most of the songs and arias included in this list are set for voice and continuo. Most of them are also spiritual, i.e. hymn settings, although a few have a worldly theme. The best known of these, "Bist du bei mir", was however not composed by Bach. An aria by Bach was rediscovered in the 21st century, and was assigned the number BWV 1127. Further hymn settings and arias by Bach are included in his cantatas, motets, masses, passions, oratorios and chorale harmonisations (BWV 1–438 and later additions). The second Anhang of the BWV catalogue also lists a few songs of doubtful authenticity.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

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 (BWV 250–252), 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.

The Bach-Werke-Verzeichnis (German: [ˈbax ˌvɛʁkə fɐˈtsaɪçnɪs], lit. 'Bach Works Catalogue'; BWV) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990 and the third edition in 2022. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. In part this reflects the fact that some compositions cannot be dated. However, an approximate or precise date can be assigned to others: for example, BWV 992 was composed many years before BWV 1.

Songs and arias by Johann Sebastian Bach are compositions listed in Chapter 6 of the Bach-Werke-Verzeichnis (BWV 439–524), which also includes the Quodlibet. Most of the songs and arias included in this list are set for voice and continuo. Most of them are also spiritual, i.e. hymn settings, although a few have a worldly theme. The best known of these, "Bist du bei mir", was however not composed by Bach. An aria by Bach was rediscovered in the 21st century, and was assigned the number BWV 1127. Further hymn settings and arias by Bach are included in his cantatas, motets, masses, passions, oratorios and chorale harmonisations (BWV 1–438 and later additions). The second Anhang of the BWV catalogue also lists a few songs of doubtful authenticity.

The Bach-Werke-Verzeichnis (German: [ˈbax ˌvɛʁkə fɐˈtsaɪçnɪs], lit. 'Bach Works Catalogue'; BWV) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990 and the third edition in 2022. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. In part this reflects the fact that some compositions cannot be dated. However, an approximate or precise date can be assigned to others: for example, BWV 992 was composed many years before BWV 1.

Psalm 6 is the sixth psalm of the Book of Psalms, beginning in English in the King James Version: "O LORD, rebuke me not in thine anger, neither chasten me in thy hot displeasure". In Latin, it is known as "Domine ne in furore tuo arguas me". This penitential psalm is traditionally attributed to David. The psalm forms a regular part of Jewish, Catholic, Lutheran, Anglican and other Protestant liturgies. It was paraphrased to a metred hymn in German, "Straf mich nicht in deinem Zorn" by Johann Georg Albinus, which Catherine Winkworth translated into "Not in anger, Mighty God". The psalm has been set to music by composers such as Heinrich Schütz, Johann Sebastian Bach, Max Reger, Jules Van Nuffel and Norma Wendelburg.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

The Bach-Werke-Verzeichnis (German: [ˈbax ˌvɛʁkə fɐˈtsaɪçnɪs], lit. 'Bach Works Catalogue'; BWV) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990 and the third edition in 2022. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. In part this reflects the fact that some compositions cannot be dated. However, an approximate or precise date can be assigned to others: for example, BWV 992 was composed many years before BWV 1.

The Bach-Werke-Verzeichnis (German: [ˈbax ˌvɛʁkə fɐˈtsaɪçnɪs], lit. 'Bach Works Catalogue'; BWV) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990 and the third edition in 2022. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. In part this reflects the fact that some compositions cannot be dated. However, an approximate or precise date can be assigned to others: for example, BWV 992 was composed many years before BWV 1.

Songs and arias by Johann Sebastian Bach are compositions listed in Chapter 6 of the Bach-Werke-Verzeichnis (BWV 439–524), which also includes the Quodlibet. Most of the songs and arias included in this list are set for voice and continuo. Most of them are also spiritual, i.e. hymn settings, although a few have a worldly theme. The best known of these, "Bist du bei mir", was however not composed by Bach. An aria by Bach was rediscovered in the 21st century, and was assigned the number BWV 1127. Further hymn settings and arias by Bach are included in his cantatas, motets, masses, passions, oratorios and chorale harmonisations (BWV 1–438 and later additions). The second Anhang of the BWV catalogue also lists a few songs of doubtful authenticity.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Songs and arias by Johann Sebastian Bach are compositions listed in Chapter 6 of the Bach-Werke-Verzeichnis (BWV 439–524), which also includes the Quodlibet. Most of the songs and arias included in this list are set for voice and continuo. Most of them are also spiritual, i.e. hymn settings, although a few have a worldly theme. The best known of these, "Bist du bei mir", was however not composed by Bach. An aria by Bach was rediscovered in the 21st century, and was assigned the number BWV 1127. Further hymn settings and arias by Bach are included in his cantatas, motets, masses, passions, oratorios and chorale harmonisations (BWV 1–438 and later additions). The second Anhang of the BWV catalogue also lists a few songs of doubtful authenticity.

Songs and arias by Johann Sebastian Bach are compositions listed in Chapter 6 of the Bach-Werke-Verzeichnis (BWV 439–524), which also includes the Quodlibet. Most of the songs and arias included in this list are set for voice and continuo. Most of them are also spiritual, i.e. hymn settings, although a few have a worldly theme. The best known of these, "Bist du bei mir", was however not composed by Bach. An aria by Bach was rediscovered in the 21st century, and was assigned the number BWV 1127. Further hymn settings and arias by Bach are included in his cantatas, motets, masses, passions, oratorios and chorale harmonisations (BWV 1–438 and later additions). The second Anhang of the BWV catalogue also lists a few songs of doubtful authenticity.

Songs and arias by Johann Sebastian Bach are compositions listed in Chapter 6 of the Bach-Werke-Verzeichnis (BWV 439–524), which also includes the Quodlibet. Most of the songs and arias included in this list are set for voice and continuo. Most of them are also spiritual, i.e. hymn settings, although a few have a worldly theme. The best known of these, "Bist du bei mir", was however not composed by Bach. An aria by Bach was rediscovered in the 21st century, and was assigned the number BWV 1127. Further hymn settings and arias by Bach are included in his cantatas, motets, masses, passions, oratorios and chorale harmonisations (BWV 1–438 and later additions). The second Anhang of the BWV catalogue also lists a few songs of doubtful authenticity.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Songs and arias by Johann Sebastian Bach are compositions listed in Chapter 6 of the Bach-Werke-Verzeichnis (BWV 439–524), which also includes the Quodlibet. Most of the songs and arias included in this list are set for voice and continuo. Most of them are also spiritual, i.e. hymn settings, although a few have a worldly theme. The best known of these, "Bist du bei mir", was however not composed by Bach. An aria by Bach was rediscovered in the 21st century, and was assigned the number BWV 1127. Further hymn settings and arias by Bach are included in his cantatas, motets, masses, passions, oratorios and chorale harmonisations (BWV 1–438 and later additions). The second Anhang of the BWV catalogue also lists a few songs of doubtful authenticity.

"Ich steh an deiner Krippen hier" (I stand by your manger here) is a German Christmas hymn, with lyrics by Paul Gerhardt which were first published in 1653. It was then sung with an older melody by Martin Luther, but a melody which was likely created by Johann Sebastian Bach for Schemellis Gesangbuch of 1736 is now part of current Protestant and Catholic hymnals.

The Bach-Werke-Verzeichnis (German: [ˈbax ˌvɛʁkə fɐˈtsaɪçnɪs], lit. 'Bach Works Catalogue'; BWV) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990 and the third edition in 2022. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. In part this reflects the fact that some compositions cannot be dated. However, an approximate or precise date can be assigned to others: for example, BWV 992 was composed many years before BWV 1.

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 (BWV 250–252), 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.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

The Bach-Werke-Verzeichnis (German: [ˈbax ˌvɛʁkə fɐˈtsaɪçnɪs], lit. 'Bach Works Catalogue'; BWV) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990 and the third edition in 2022. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. In part this reflects the fact that some compositions cannot be dated. However, an approximate or precise date can be assigned to others: for example, BWV 992 was composed many years before BWV 1.

Songs and arias by Johann Sebastian Bach are compositions listed in Chapter 6 of the Bach-Werke-Verzeichnis (BWV 439–524), which also includes the Quodlibet. Most of the songs and arias included in this list are set for voice and continuo. Most of them are also spiritual, i.e. hymn settings, although a few have a worldly theme. The best known of these, "Bist du bei mir", was however not composed by Bach. An aria by Bach was rediscovered in the 21st century, and was assigned the number BWV 1127. Further hymn settings and arias by Bach are included in his cantatas, motets, masses, passions, oratorios and chorale harmonisations (BWV 1–438 and later additions). The second Anhang of the BWV catalogue also lists a few songs of doubtful authenticity.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

The Bach-Werke-Verzeichnis (German: [ˈbax ˌvɛʁkə fɐˈtsaɪçnɪs], lit. 'Bach Works Catalogue'; BWV) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990 and the third edition in 2022. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. In part this reflects the fact that some compositions cannot be dated. However, an approximate or precise date can be assigned to others: for example, BWV 992 was composed many years before BWV 1.

The Bach-Werke-Verzeichnis (German: [ˈbax ˌvɛʁkə fɐˈtsaɪçnɪs], lit. 'Bach Works Catalogue'; BWV) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990 and the third edition in 2022. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. In part this reflects the fact that some compositions cannot be dated. However, an approximate or precise date can be assigned to others: for example, BWV 992 was composed many years before BWV 1.

Johann Sebastian Bach (31 March [O.S. 21 March] 1685 – 28 July 1750) was a German composer and musician of the late Baroque period. He is known for his prolific output across a variety of instruments and forms, including the orchestral Brandenburg Concertos; solo instrumental works such as the Cello Suites and Sonatas and Partitas for Solo Violin; keyboard works such as the Goldberg Variations and The Well-Tempered Clavier; organ works such as the Schübler Chorales and the Toccata and Fugue in D minor; and choral works such as the St. Matthew Passion and the Mass in B minor. He is known for his mastery of counterpoint, as heard in The Musical Offering and The Art of Fugue. Felix Mendelssohn precipitated the Bach Revival with a performance of the St. Matthew Passion in 1829. Ever since, Bach has been acclaimed as one of the greatest composers of classical music. The Bach family had already produced several composers when Johann Sebastian was born in Eisenach, the youngest child of the city musician Johann Ambrosius Bach. After being orphaned at age 10, he lived for five years with his eldest brother, Johann Christoph, then continued his musical education in Lüneburg. In 1703 he returned to Thuringia, working as a musician for Protestant churches in Arnstadt and Mühlhausen. Around that time he also paid extended visits to the courts in Weimar, where he expanded his organ repertory, and the reformed court at Köthen, where he was mostly engaged with chamber music. By 1723 he was hired as Thomaskantor, church music director of the city of Leipzig and thus responsible for music in four Lutheran city churches and for the St. Thomas School. He decided to compose annual cycles of church cantatas, and also wrote music for Leipzig University's student ensemble, Collegium Musicum. In 1726 he began publishing his organ and other keyboard music. In Leipzig, he had difficult relations with his employer, as he had during some of his earlier positions. This situation was somewhat remedied when his sovereign, Augustus III of Poland, granted him the title of court composer of the Elector of Saxony in 1736. In the last decades of his life, Bach reworked and extended many of his earlier compositions. He died due to complications following eye surgery in 1750 at the age of 65. Four of his twenty children, Wilhelm Friedemann, Carl Philipp Emanuel, Johann Christoph Friedrich, and Johann Christian, became composers. Bach enriched established German styles through his mastery of counterpoint, harmonic and motivic organisation, and his adaptation of rhythms, forms, and textures from abroad, particularly Italy and France. His compositions include hundreds of cantatas, both sacred and secular. He composed Latin church music, Passions, oratorios, and motets. He adopted Lutheran hymns, not only in his larger vocal works but also in such works as his four-part chorales and his sacred songs. Bach wrote extensively for organ and other keyboard instruments. He composed concertos, for instance for violin and for harpsichord, and suites, as chamber music as well as for orchestra. Many of his works use contrapuntal techniques like canon and fugue. Several decades after his death, in the 18th century, Bach was still primarily known as an organist. Several biographies of Bach were published in the 19th century, and by the end of that century all of his known music had been printed. Dissemination of Bach scholarship continued through periodicals (and later websites) devoted to him, other publications such as the Bach-Werke-Verzeichnis (BWV, a numbered catalogue of his works), and new critical editions of his compositions. His music was further popularised by a multitude of arrangements, including the "Air on the G String" and "Jesu, Joy of Man's Desiring", and recordings, among them three boxed sets of performances of his complete oeuvre marking the 250th anniversary of his death.

Songs and arias by Johann Sebastian Bach are compositions listed in Chapter 6 of the Bach-Werke-Verzeichnis (BWV 439–524), which also includes the Quodlibet. Most of the songs and arias included in this list are set for voice and continuo. Most of them are also spiritual, i.e. hymn settings, although a few have a worldly theme. The best known of these, "Bist du bei mir", was however not composed by Bach. An aria by Bach was rediscovered in the 21st century, and was assigned the number BWV 1127. Further hymn settings and arias by Bach are included in his cantatas, motets, masses, passions, oratorios and chorale harmonisations (BWV 1–438 and later additions). The second Anhang of the BWV catalogue also lists a few songs of doubtful authenticity.

Jesu, meine Freude (Jesus, my joy), BWV 227, is a motet by Johann Sebastian Bach. The longest and most musically complex of Bach's motets, it is set in eleven movements for up to five voices. It is named after the Lutheran hymn "Jesu, meine Freude" with words by Johann Franck, first published in 1653. The motet contains the six stanzas of the hymn in its odd-numbered movements. The hymn tune by Johann Crüger appears in all of these movements in different styles of chorale settings. The text of the motet's even-numbered movements is taken from the eighth chapter of the Epistle to the Romans, a passage that influenced key Lutheran teachings. The hymn, written in the first person with a focus on an emotional bond with Jesus, forms a contrasting expansion of the doctrinal biblical text. Bach set both texts alternating with and complementing each other, in a structure of symmetries on different layers. Bach's treatment of Crüger's melody ranges from four-part chorale harmonisations that begin and end the work, to a chorale fantasia and a free setting that quotes only motifs of the hymn tune. Four biblical verses are set in the style of a motet, two for five voices and two for three voices. The central movement is a five-part fugue. Bach used word painting to intensify the theological meaning of both hymn and Epistle texts. Jesu, meine Freude is one of few works by Bach for five vocal parts. The dating of the work is uncertain. It was supposed to have been written for a specific funeral in Leipzig in July 1723, a few months after Bach had moved there, as a scholar proposed in 1912. Since the 1990s, musicologists have come to doubt this, because the order of that funeral was found and shows no reference to music by Bach. At least one of the eleven movements seems to have been composed before Bach's tenure in Leipzig. The Bach scholar Christoph Wolff suggested that Bach may have composed and compiled the motet for the education of his choir in both composition techniques and theology. Chorale settings from the motet are included in the Dietel manuscript from around 1735, providing a latest dating of the work. Unique in its complex symmetrical structure juxtaposing hymn and biblical texts, and with movements featuring a variety of styles and vocal textures, the motet has been regarded as one of Bach's greatest achievements in the genre. In 1927, it became the first of his motets to be recorded. The work has often been performed and recorded with a range of approaches, from unaccompanied singing to historically informed performances taking into account that in Bach's time it was customary to support the voices by basso continuo and instruments doubling the vocal lines (colla parte).

"Jesu, meine Freude" ([ˈjeːzu ˈmaɪnə ˈfʁɔʏdə]; Jesus, my joy) is a hymn in German, written by Johann Franck, with a melody, Zahn No. 8032, by Johann Crüger. The song first appeared in Crüger's hymnal Praxis pietatis melica in 1653. The text addresses Jesus as joy and support, versus enemies and the vanity of existence. The poetry is bar form, with irregular lines from 5 to 8 syllables. The melody repeats the first line as the last, framing each of the six stanzas. Several English translations have been made of the hymn, including Catherine Winkworth's "Jesu, priceless treasure" in 1869, and it has appeared in around 40 hymnals. There have been choral and organ settings of the hymn by many composers, including by Johann Sebastian Bach in a motet, BWV 227, for unaccompanied chorus, and a chorale prelude, BWV 610, for organ. In the modern German Protestant hymnal, Evangelisches Gesangbuch, it is No. 396.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Songs and arias by Johann Sebastian Bach are compositions listed in Chapter 6 of the Bach-Werke-Verzeichnis (BWV 439–524), which also includes the Quodlibet. Most of the songs and arias included in this list are set for voice and continuo. Most of them are also spiritual, i.e. hymn settings, although a few have a worldly theme. The best known of these, "Bist du bei mir", was however not composed by Bach. An aria by Bach was rediscovered in the 21st century, and was assigned the number BWV 1127. Further hymn settings and arias by Bach are included in his cantatas, motets, masses, passions, oratorios and chorale harmonisations (BWV 1–438 and later additions). The second Anhang of the BWV catalogue also lists a few songs of doubtful authenticity.

Songs and arias by Johann Sebastian Bach are compositions listed in Chapter 6 of the Bach-Werke-Verzeichnis (BWV 439–524), which also includes the Quodlibet. Most of the songs and arias included in this list are set for voice and continuo. Most of them are also spiritual, i.e. hymn settings, although a few have a worldly theme. The best known of these, "Bist du bei mir", was however not composed by Bach. An aria by Bach was rediscovered in the 21st century, and was assigned the number BWV 1127. Further hymn settings and arias by Bach are included in his cantatas, motets, masses, passions, oratorios and chorale harmonisations (BWV 1–438 and later additions). The second Anhang of the BWV catalogue also lists a few songs of doubtful authenticity.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

The Bach-Werke-Verzeichnis (German: [ˈbax ˌvɛʁkə fɐˈtsaɪçnɪs], lit. 'Bach Works Catalogue'; BWV) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990 and the third edition in 2022. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. In part this reflects the fact that some compositions cannot be dated. However, an approximate or precise date can be assigned to others: for example, BWV 992 was composed many years before BWV 1.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

Songs and arias by Johann Sebastian Bach are compositions listed in Chapter 6 of the Bach-Werke-Verzeichnis (BWV 439–524), which also includes the Quodlibet. Most of the songs and arias included in this list are set for voice and continuo. Most of them are also spiritual, i.e. hymn settings, although a few have a worldly theme. The best known of these, "Bist du bei mir", was however not composed by Bach. An aria by Bach was rediscovered in the 21st century, and was assigned the number BWV 1127. Further hymn settings and arias by Bach are included in his cantatas, motets, masses, passions, oratorios and chorale harmonisations (BWV 1–438 and later additions). The second Anhang of the BWV catalogue also lists a few songs of doubtful authenticity.

Songs and arias by Johann Sebastian Bach are compositions listed in Chapter 6 of the Bach-Werke-Verzeichnis (BWV 439–524), which also includes the Quodlibet. Most of the songs and arias included in this list are set for voice and continuo. Most of them are also spiritual, i.e. hymn settings, although a few have a worldly theme. The best known of these, "Bist du bei mir", was however not composed by Bach. An aria by Bach was rediscovered in the 21st century, and was assigned the number BWV 1127. Further hymn settings and arias by Bach are included in his cantatas, motets, masses, passions, oratorios and chorale harmonisations (BWV 1–438 and later additions). The second Anhang of the BWV catalogue also lists a few songs of doubtful authenticity.

The St Mark Passion (German: Markus-Passion), BWV 247, is a lost Passion setting by Johann Sebastian Bach, first performed in Leipzig on Good Friday, 23 March 1731. Though Bach's music is lost, the libretto by Picander is still extant, and from this, the work can to some degree be reconstructed.

Immortal Bach, Op. 153, is a choral composition from 1988 by Knut Nystedt, derived from the first line of Bach's funeral song "Komm, süßer Tod" (Come, sweet death). He scored it for mixed choir a cappella divided among many individual voices.

"Komm, Gott Schöpfer, Heiliger Geist" ("Come, God Creator, Holy Ghost") is a Lutheran hymn for Pentecost, with words written by Martin Luther based on the Latin "Veni Creator Spiritus". The hymn in seven stanzas was first published in 1524. Its hymn tunes are Zahn No. 294, derived from the chant of the Latin hymn, and Zahn No. 295, a later transformation of that melody. The number in the current Protestant hymnal Evangelisches Gesangbuch (EG) is 126. Johann Sebastian Bach composed chorale preludes on the hymn as BWV 631 in the Orgelbüchlein and as BWV 667 in the Great Eighteen Chorale Preludes. The hymn has been translated and has appeared with the hymn tune in several hymnals.

Komm, Jesu, komm (Come, Jesus, come), BWV 229, is a motet by Johann Sebastian Bach, with a text by Paul Thymich. It was composed in Leipzig, and received its first performance by 1731–1732. Bach scored the motet for double choir. It was probably composed for a funeral, as were others of his motets but exact dates of composition and performance are not known. It is his only motet without biblical text. He set a poem by Paul Thymich, which Johann Schelle set as a funeral aria in 1684. Also unusually, the motet is not closed by a chorale, but by an aria which is harmonized like a chorale. The work has been described as having a confident, intimate and tender character, and making more use of polychorality (interplay of the two choirs) than polyphony (interplay of the voices). It also contains a small section of fugato set to the text 'Komm, ich will mich dir ergeben'. The theme of the text is death as the happy moment when man, tired of earthly life, can confide in Jesus, who is seen as Truth and Life and the only way to eternal life.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Songs and arias by Johann Sebastian Bach are compositions listed in Chapter 6 of the Bach-Werke-Verzeichnis (BWV 439–524), which also includes the Quodlibet. Most of the songs and arias included in this list are set for voice and continuo. Most of them are also spiritual, i.e. hymn settings, although a few have a worldly theme. The best known of these, "Bist du bei mir", was however not composed by Bach. An aria by Bach was rediscovered in the 21st century, and was assigned the number BWV 1127. Further hymn settings and arias by Bach are included in his cantatas, motets, masses, passions, oratorios and chorale harmonisations (BWV 1–438 and later additions). The second Anhang of the BWV catalogue also lists a few songs of doubtful authenticity.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Songs and arias by Johann Sebastian Bach are compositions listed in Chapter 6 of the Bach-Werke-Verzeichnis (BWV 439–524), which also includes the Quodlibet. Most of the songs and arias included in this list are set for voice and continuo. Most of them are also spiritual, i.e. hymn settings, although a few have a worldly theme. The best known of these, "Bist du bei mir", was however not composed by Bach. An aria by Bach was rediscovered in the 21st century, and was assigned the number BWV 1127. Further hymn settings and arias by Bach are included in his cantatas, motets, masses, passions, oratorios and chorale harmonisations (BWV 1–438 and later additions). The second Anhang of the BWV catalogue also lists a few songs of doubtful authenticity.

Songs and arias by Johann Sebastian Bach are compositions listed in Chapter 6 of the Bach-Werke-Verzeichnis (BWV 439–524), which also includes the Quodlibet. Most of the songs and arias included in this list are set for voice and continuo. Most of them are also spiritual, i.e. hymn settings, although a few have a worldly theme. The best known of these, "Bist du bei mir", was however not composed by Bach. An aria by Bach was rediscovered in the 21st century, and was assigned the number BWV 1127. Further hymn settings and arias by Bach are included in his cantatas, motets, masses, passions, oratorios and chorale harmonisations (BWV 1–438 and later additions). The second Anhang of the BWV catalogue also lists a few songs of doubtful authenticity.

"Liebster Gott, wann werd ich sterben" ("Dearest God, when will I die") is a Lutheran hymn which Caspar Neumann, an evangelical theologian from Breslau, wrote around 1690. The topic of the hymn, which has five stanzas of eight lines, is a reflection on death. An elaborate analysis of the hymn's content was published in 1749. A few text variants of the hymn originated in the 18th century. Neumann's text is usually sung to the hymn tune of "Freu dich sehr o meine Seele". Daniel Vetter, a native of Breslau, set the hymn in the first half of the 1690s, and published this setting in a version for SATB singers in 1713. This setting was picked up by Johann Sebastian Bach, who based some of his compositions on it. His chorale cantata based on Neumann's hymn, Liebster Gott, wenn werd ich sterben, BWV 8, was first performed in Leipzig in 1724, Vetter's hymn tune, Zahn No. 6634, appearing in its outer movements. The closing chorale of BWV 8 is a reworked version of Vetter's four-part setting. The appreciation of the similarity (or: difference) between this cantata movement, BWV 8/6, and Vetter's original ranges from "somewhat altered" to "with radical alterations", the 1998 edition of the Bach-Werke-Verzeichnis listing the 1724 version as a composition by Vetter. Another setting of Neumann's hymn was published in 1747.

Songs and arias by Johann Sebastian Bach are compositions listed in Chapter 6 of the Bach-Werke-Verzeichnis (BWV 439–524), which also includes the Quodlibet. Most of the songs and arias included in this list are set for voice and continuo. Most of them are also spiritual, i.e. hymn settings, although a few have a worldly theme. The best known of these, "Bist du bei mir", was however not composed by Bach. An aria by Bach was rediscovered in the 21st century, and was assigned the number BWV 1127. Further hymn settings and arias by Bach are included in his cantatas, motets, masses, passions, oratorios and chorale harmonisations (BWV 1–438 and later additions). The second Anhang of the BWV catalogue also lists a few songs of doubtful authenticity.

Songs and arias by Johann Sebastian Bach are compositions listed in Chapter 6 of the Bach-Werke-Verzeichnis (BWV 439–524), which also includes the Quodlibet. Most of the songs and arias included in this list are set for voice and continuo. Most of them are also spiritual, i.e. hymn settings, although a few have a worldly theme. The best known of these, "Bist du bei mir", was however not composed by Bach. An aria by Bach was rediscovered in the 21st century, and was assigned the number BWV 1127. Further hymn settings and arias by Bach are included in his cantatas, motets, masses, passions, oratorios and chorale harmonisations (BWV 1–438 and later additions). The second Anhang of the BWV catalogue also lists a few songs of doubtful authenticity.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Lobet den Herrn, alle Heiden (Praise the Lord, all ye nations), BWV 230, is a motet by Johann Sebastian Bach.

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 (BWV 250–252), 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.

The Bach-Werke-Verzeichnis (German: [ˈbax ˌvɛʁkə fɐˈtsaɪçnɪs], lit. 'Bach Works Catalogue'; BWV) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990 and the third edition in 2022. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. In part this reflects the fact that some compositions cannot be dated. However, an approximate or precise date can be assigned to others: for example, BWV 992 was composed many years before BWV 1.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Johann Sebastian Bach's Magnificat, BWV 243, is a musical setting of the biblical canticle Magnificat. It is scored for five vocal parts (two sopranos, alto, tenor and bass), and a Baroque orchestra including trumpets and timpani. It is the first major liturgical composition on a Latin text by Bach. In 1723, after taking up his post as Thomaskantor in Leipzig, Bach set the text of the Magnificat in a twelve movement composition in the key of E-flat major. For a performance at Christmas he inserted four hymns (laudes) related to that feast. This version, including the Christmas interpolations, was given the number 243.1 (previously 243a) in the catalogue of Bach's works. Likely for the feast of Visitation of 1733, or another feast in or around that year, Bach produced a new version of his Latin Magnificat, without the Christmas hymns: instrumentation of some movements was altered or expanded, and the key changed from E-flat major to D major, for performance reasons of the trumpet parts. This version of Bach's Magnificat is known as BWV 243.2 (previously BWV 243). After publication of both versions in the 19th century, the second became the standard for performance. It is one of Bach's most popular vocal works.

Johann Sebastian Bach's Magnificat, BWV 243, is a musical setting of the biblical canticle Magnificat. It is scored for five vocal parts (two sopranos, alto, tenor and bass), and a Baroque orchestra including trumpets and timpani. It is the first major liturgical composition on a Latin text by Bach. In 1723, after taking up his post as Thomaskantor in Leipzig, Bach set the text of the Magnificat in a twelve movement composition in the key of E-flat major. For a performance at Christmas he inserted four hymns (laudes) related to that feast. This version, including the Christmas interpolations, was given the number 243.1 (previously 243a) in the catalogue of Bach's works. Likely for the feast of Visitation of 1733, or another feast in or around that year, Bach produced a new version of his Latin Magnificat, without the Christmas hymns: instrumentation of some movements was altered or expanded, and the key changed from E-flat major to D major, for performance reasons of the trumpet parts. This version of Bach's Magnificat is known as BWV 243.2 (previously BWV 243). After publication of both versions in the 19th century, the second became the standard for performance. It is one of Bach's most popular vocal works.

The Magnificat in E-flat major, BWV 243a, also BWV 243.1, by Johann Sebastian Bach is a musical setting of the Latin text of the Magnificat, Mary's canticle from the Gospel of Luke. It was composed in 1723 and is in twelve movements, scored for five vocal parts (two sopranos, alto, tenor and bass) and a Baroque orchestra of trumpets, timpani, oboes, strings and basso continuo including bassoon. Bach revised the work some ten years later, transposing it from E-flat major to D major, and creating the version mostly performed today, BWV 243. The work was first performed in Leipzig in 1723. In May that year Bach assumed his position as Thomaskantor and embarked on an ambitious series of compositions. The Magnificat was sung at vesper services on feast days, and, as suggested by recent research, Bach's setting may have been written for a performance on 2 July, celebrating the Marian feast of the Visitation. For a Christmas celebration the same or a later year, he performed it at the Nikolaikirche with the insertion of four seasonal movements. As a regular part of vespers, the canticle Magnificat was often set to music for liturgical use. Bach, as some of his contemporaries, devotes individual expression to every verse of the canticle, one even split in two for a dramatic effect. In a carefully designed structure, four choral movements are evenly distributed (1, 4, 7, 11). They frame sets of two or three movements sung by one to three voices, with individual instrumental colour. The work is concluded by a choral doxology (12), which ends in a recapitulation of the beginning on the text "as it was in the beginning". In Bach's Leipzig period, Magnificat is the first major work on a Latin text and for five vocal parts.

Apart from the 1733 Mass for the Dresden court (later incorporated in the Mass in B minor), Johann Sebastian Bach wrote four further Kyrie–Gloria Masses, BWV 233–236. These compositions, consisting of the first two sections of the Mass ordinary (i.e. the Kyrie and the Gloria), have been indicated as Missae breves (Latin for "short masses") or Lutheran Masses. They seem to have been intended for liturgical use, considering a performance time of about 20 minutes each, the average duration of a Bach cantata. They may have been composed around 1738/39. Possibly they were written for Count Franz Anton von Sporck or performed by him in Lysá (German: Lissa). Each of the Kyrie-Gloria Masses is in six movements: the Kyrie is one choral movement (with Kyrie/Christe/Kyrie subdivisions) and the Gloria is in five movements. The first and last movement of the Gloria are also choral, framing three arias for different voice types. The music consists mostly of parodies of earlier cantata movements. Bach changed the music slightly to adjust to the Latin words, but kept the original instrumentation. For instance, the opening chorus of Es wartet alles auf dich, BWV 187, became the final movement of the Missa in G minor, Cum sancto spiritu. Occasionally he switched a voice part, for example he asked for a tenor in the Qui tollis of that Missa, a parody of the soprano aria Gott versorget alles Leben of that cantata.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

The Mass in B minor (German: h-Moll-Messe), BWV 232, is an extended setting of the Mass ordinary by Johann Sebastian Bach. The composition was completed in 1749, the year before Bach's death, and was to a large extent based on earlier work, such as a Sanctus Bach had composed in 1724. Sections that were specifically composed to complete the Mass in the late 1740s include the "Et incarnatus est" part of the Credo. It is structured in four major sections and scored for five soloists, a choir that is five-part in many sections and divided in the "Osanna", and a Baroque ensemble including brass and wind instruments. In the legacy of his son Carl Philipp Emanuel Bach, it appears as the "Great Catholic Mass" (die große catholische Messe), referring to the fact that all parts of the Catholic mass are set to music. Typically for the time, the composition is formatted as a Neapolitan mass, consisting of a succession of choral movements with a broad orchestral accompaniment, and sections in which a more limited group of instrumentalists accompanies one or more vocal soloists. Among the more unusual characteristics of the composition is its scale: a total performance time of around two hours, and a scoring consisting of two groups of SATB singers and an orchestra featuring an extended winds section, strings and continuo. Its key, B minor, is rather exceptional for a composition featuring natural trumpets in D, although far more of the work is in this key than B minor. Even more exceptional, for a Lutheran composer such as Bach, is that the composition is a Missa tota. In Bach's day, Masses composed for Lutheran services usually consisted only of a Kyrie and Gloria. Bach had composed five such Kyrie–Gloria Masses before he completed his Mass in B minor: the Kyrie–Gloria Masses, BWV 233–236, in the late 1730s, and the Mass for the Dresden court, which would become Part I of his only Missa tota, in 1733. The Mass was likely never performed in its entirety during Bach's lifetime. Its earliest documented complete performance took place in 1859. With many dozens of recordings, it is among Bach's most popular vocal works. In 2015, Bach's personal handwritten manuscript of the mass held by the Berlin State Library was included in the UNESCO's Memory of the World International Register a project to protect and preserve culturally significant documents and manuscripts.

The Mass in B minor (German: h-Moll-Messe), BWV 232, is an extended setting of the Mass ordinary by Johann Sebastian Bach. The composition was completed in 1749, the year before Bach's death, and was to a large extent based on earlier work, such as a Sanctus Bach had composed in 1724. Sections that were specifically composed to complete the Mass in the late 1740s include the "Et incarnatus est" part of the Credo. It is structured in four major sections and scored for five soloists, a choir that is five-part in many sections and divided in the "Osanna", and a Baroque ensemble including brass and wind instruments. In the legacy of his son Carl Philipp Emanuel Bach, it appears as the "Great Catholic Mass" (die große catholische Messe), referring to the fact that all parts of the Catholic mass are set to music. Typically for the time, the composition is formatted as a Neapolitan mass, consisting of a succession of choral movements with a broad orchestral accompaniment, and sections in which a more limited group of instrumentalists accompanies one or more vocal soloists. Among the more unusual characteristics of the composition is its scale: a total performance time of around two hours, and a scoring consisting of two groups of SATB singers and an orchestra featuring an extended winds section, strings and continuo. Its key, B minor, is rather exceptional for a composition featuring natural trumpets in D, although far more of the work is in this key than B minor. Even more exceptional, for a Lutheran composer such as Bach, is that the composition is a Missa tota. In Bach's day, Masses composed for Lutheran services usually consisted only of a Kyrie and Gloria. Bach had composed five such Kyrie–Gloria Masses before he completed his Mass in B minor: the Kyrie–Gloria Masses, BWV 233–236, in the late 1730s, and the Mass for the Dresden court, which would become Part I of his only Missa tota, in 1733. The Mass was likely never performed in its entirety during Bach's lifetime. Its earliest documented complete performance took place in 1859. With many dozens of recordings, it is among Bach's most popular vocal works. In 2015, Bach's personal handwritten manuscript of the mass held by the Berlin State Library was included in the UNESCO's Memory of the World International Register a project to protect and preserve culturally significant documents and manuscripts.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

The Mass in B minor (German: h-Moll-Messe), BWV 232, is an extended setting of the Mass ordinary by Johann Sebastian Bach. The composition was completed in 1749, the year before Bach's death, and was to a large extent based on earlier work, such as a Sanctus Bach had composed in 1724. Sections that were specifically composed to complete the Mass in the late 1740s include the "Et incarnatus est" part of the Credo. It is structured in four major sections and scored for five soloists, a choir that is five-part in many sections and divided in the "Osanna", and a Baroque ensemble including brass and wind instruments. In the legacy of his son Carl Philipp Emanuel Bach, it appears as the "Great Catholic Mass" (die große catholische Messe), referring to the fact that all parts of the Catholic mass are set to music. Typically for the time, the composition is formatted as a Neapolitan mass, consisting of a succession of choral movements with a broad orchestral accompaniment, and sections in which a more limited group of instrumentalists accompanies one or more vocal soloists. Among the more unusual characteristics of the composition is its scale: a total performance time of around two hours, and a scoring consisting of two groups of SATB singers and an orchestra featuring an extended winds section, strings and continuo. Its key, B minor, is rather exceptional for a composition featuring natural trumpets in D, although far more of the work is in this key than B minor. Even more exceptional, for a Lutheran composer such as Bach, is that the composition is a Missa tota. In Bach's day, Masses composed for Lutheran services usually consisted only of a Kyrie and Gloria. Bach had composed five such Kyrie–Gloria Masses before he completed his Mass in B minor: the Kyrie–Gloria Masses, BWV 233–236, in the late 1730s, and the Mass for the Dresden court, which would become Part I of his only Missa tota, in 1733. The Mass was likely never performed in its entirety during Bach's lifetime. Its earliest documented complete performance took place in 1859. With many dozens of recordings, it is among Bach's most popular vocal works. In 2015, Bach's personal handwritten manuscript of the mass held by the Berlin State Library was included in the UNESCO's Memory of the World International Register a project to protect and preserve culturally significant documents and manuscripts.

Apart from the 1733 Mass for the Dresden court (later incorporated in the Mass in B minor), Johann Sebastian Bach wrote four further Kyrie–Gloria Masses, BWV 233–236. These compositions, consisting of the first two sections of the Mass ordinary (i.e. the Kyrie and the Gloria), have been indicated as Missae breves (Latin for "short masses") or Lutheran Masses. They seem to have been intended for liturgical use, considering a performance time of about 20 minutes each, the average duration of a Bach cantata. They may have been composed around 1738/39. Possibly they were written for Count Franz Anton von Sporck or performed by him in Lysá (German: Lissa). Each of the Kyrie-Gloria Masses is in six movements: the Kyrie is one choral movement (with Kyrie/Christe/Kyrie subdivisions) and the Gloria is in five movements. The first and last movement of the Gloria are also choral, framing three arias for different voice types. The music consists mostly of parodies of earlier cantata movements. Bach changed the music slightly to adjust to the Latin words, but kept the original instrumentation. For instance, the opening chorus of Es wartet alles auf dich, BWV 187, became the final movement of the Missa in G minor, Cum sancto spiritu. Occasionally he switched a voice part, for example he asked for a tenor in the Qui tollis of that Missa, a parody of the soprano aria Gott versorget alles Leben of that cantata.

Songs and arias by Johann Sebastian Bach are compositions listed in Chapter 6 of the Bach-Werke-Verzeichnis (BWV 439–524), which also includes the Quodlibet. Most of the songs and arias included in this list are set for voice and continuo. Most of them are also spiritual, i.e. hymn settings, although a few have a worldly theme. The best known of these, "Bist du bei mir", was however not composed by Bach. An aria by Bach was rediscovered in the 21st century, and was assigned the number BWV 1127. Further hymn settings and arias by Bach are included in his cantatas, motets, masses, passions, oratorios and chorale harmonisations (BWV 1–438 and later additions). The second Anhang of the BWV catalogue also lists a few songs of doubtful authenticity.

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 (BWV 250–252), 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.

The Bach-Werke-Verzeichnis (German: [ˈbax ˌvɛʁkə fɐˈtsaɪçnɪs], lit. 'Bach Works Catalogue'; BWV) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990 and the third edition in 2022. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. In part this reflects the fact that some compositions cannot be dated. However, an approximate or precise date can be assigned to others: for example, BWV 992 was composed many years before BWV 1.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Songs and arias by Johann Sebastian Bach are compositions listed in Chapter 6 of the Bach-Werke-Verzeichnis (BWV 439–524), which also includes the Quodlibet. Most of the songs and arias included in this list are set for voice and continuo. Most of them are also spiritual, i.e. hymn settings, although a few have a worldly theme. The best known of these, "Bist du bei mir", was however not composed by Bach. An aria by Bach was rediscovered in the 21st century, and was assigned the number BWV 1127. Further hymn settings and arias by Bach are included in his cantatas, motets, masses, passions, oratorios and chorale harmonisations (BWV 1–438 and later additions). The second Anhang of the BWV catalogue also lists a few songs of doubtful authenticity.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

The Bach-Werke-Verzeichnis (German: [ˈbax ˌvɛʁkə fɐˈtsaɪçnɪs], lit. 'Bach Works Catalogue'; BWV) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990 and the third edition in 2022. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. In part this reflects the fact that some compositions cannot be dated. However, an approximate or precise date can be assigned to others: for example, BWV 992 was composed many years before BWV 1.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

The Bach-Werke-Verzeichnis (German: [ˈbax ˌvɛʁkə fɐˈtsaɪçnɪs], lit. 'Bach Works Catalogue'; BWV) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990 and the third edition in 2022. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. In part this reflects the fact that some compositions cannot be dated. However, an approximate or precise date can be assigned to others: for example, BWV 992 was composed many years before BWV 1.

"Now thank we all our God" is a popular Christian hymn. Catherine Winkworth translated it from the German "Nun danket alle Gott", written c. 1636 by the Lutheran pastor Martin Rinkart. Its hymn tune, Zahn No. 5142, was published by Johann Crüger in the 1647 edition of his Praxis pietatis melica.

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 (BWV 250–252), 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.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

The Bach-Werke-Verzeichnis (German: [ˈbax ˌvɛʁkə fɐˈtsaɪçnɪs], lit. 'Bach Works Catalogue'; BWV) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990 and the third edition in 2022. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. In part this reflects the fact that some compositions cannot be dated. However, an approximate or precise date can be assigned to others: for example, BWV 992 was composed many years before BWV 1.

The Bach-Werke-Verzeichnis (German: [ˈbax ˌvɛʁkə fɐˈtsaɪçnɪs], lit. 'Bach Works Catalogue'; BWV) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990 and the third edition in 2022. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. In part this reflects the fact that some compositions cannot be dated. However, an approximate or precise date can be assigned to others: for example, BWV 992 was composed many years before BWV 1.

"Nun ruhen alle Wälder" ("Now all the woods are sleeping") is a sacred evening song in nine stanzas by Paul Gerhardt, first published in 1647 in Johann Crüger's hymnal Praxis Pietatis Melica. It is still part of Protestant hymnals and of songbooks, and the eighth stanza became used as an evening prayer for children. Catherine Winkworth created a version in English in 1865.

The Bach-Werke-Verzeichnis (German: [ˈbax ˌvɛʁkə fɐˈtsaɪçnɪs], lit. 'Bach Works Catalogue'; BWV) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990 and the third edition in 2022. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. In part this reflects the fact that some compositions cannot be dated. However, an approximate or precise date can be assigned to others: for example, BWV 992 was composed many years before BWV 1.

Songs and arias by Johann Sebastian Bach are compositions listed in Chapter 6 of the Bach-Werke-Verzeichnis (BWV 439–524), which also includes the Quodlibet. Most of the songs and arias included in this list are set for voice and continuo. Most of them are also spiritual, i.e. hymn settings, although a few have a worldly theme. The best known of these, "Bist du bei mir", was however not composed by Bach. An aria by Bach was rediscovered in the 21st century, and was assigned the number BWV 1127. Further hymn settings and arias by Bach are included in his cantatas, motets, masses, passions, oratorios and chorale harmonisations (BWV 1–438 and later additions). The second Anhang of the BWV catalogue also lists a few songs of doubtful authenticity.

Songs and arias by Johann Sebastian Bach are compositions listed in Chapter 6 of the Bach-Werke-Verzeichnis (BWV 439–524), which also includes the Quodlibet. Most of the songs and arias included in this list are set for voice and continuo. Most of them are also spiritual, i.e. hymn settings, although a few have a worldly theme. The best known of these, "Bist du bei mir", was however not composed by Bach. An aria by Bach was rediscovered in the 21st century, and was assigned the number BWV 1127. Further hymn settings and arias by Bach are included in his cantatas, motets, masses, passions, oratorios and chorale harmonisations (BWV 1–438 and later additions). The second Anhang of the BWV catalogue also lists a few songs of doubtful authenticity.

The title Notebook for Anna Magdalena Bach (German: Notenbüchlein für Anna Magdalena Bach) refers to either of two manuscript notebooks that the German Baroque composer Johann Sebastian Bach presented to his second wife, Anna Magdalena. Keyboard music (minuets, rondeaux, polonaises, chorales, sonatas, preludes, musettes, marches, gavottes) makes up most of both notebooks, and a few pieces for voice (songs, and arias) are included. The Notebooks provide a glimpse into the domestic music of the 18th century and the musical tastes of the Bach family. The second notebook contains a mixture of pieces known to be by J. S. Bach, pieces known to be by others, and pieces whose authorship is unknown or debated.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

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 (BWV 250–252), 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.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

O Jesu Christ, meins Lebens Licht (O Jesus Christ, light of my life), BWV 118, is a sacred motet composed by Johann Sebastian Bach. It is known to have been performed at a funeral, and was possibly a generic work intended for funerals. When the work was first published in the nineteenth century it was called a cantata, perhaps because it has an instrumental accompaniment. While it is not an a cappella work, modern scholarship accepts it is a motet.

Songs and arias by Johann Sebastian Bach are compositions listed in Chapter 6 of the Bach-Werke-Verzeichnis (BWV 439–524), which also includes the Quodlibet. Most of the songs and arias included in this list are set for voice and continuo. Most of them are also spiritual, i.e. hymn settings, although a few have a worldly theme. The best known of these, "Bist du bei mir", was however not composed by Bach. An aria by Bach was rediscovered in the 21st century, and was assigned the number BWV 1127. Further hymn settings and arias by Bach are included in his cantatas, motets, masses, passions, oratorios and chorale harmonisations (BWV 1–438 and later additions). The second Anhang of the BWV catalogue also lists a few songs of doubtful authenticity.

Songs and arias by Johann Sebastian Bach are compositions listed in Chapter 6 of the Bach-Werke-Verzeichnis (BWV 439–524), which also includes the Quodlibet. Most of the songs and arias included in this list are set for voice and continuo. Most of them are also spiritual, i.e. hymn settings, although a few have a worldly theme. The best known of these, "Bist du bei mir", was however not composed by Bach. An aria by Bach was rediscovered in the 21st century, and was assigned the number BWV 1127. Further hymn settings and arias by Bach are included in his cantatas, motets, masses, passions, oratorios and chorale harmonisations (BWV 1–438 and later additions). The second Anhang of the BWV catalogue also lists a few songs of doubtful authenticity.

"O Lamm Gottes, unschuldig" ("O Lamb of God, innocent") is an early Lutheran hymn, with text and melody attributed to Nikolaus Decius. Originally intended as a German version of the Latin Agnus Dei, it was instead used as a Passion hymn. In both contexts, the hymn has often been set to music, prominently as the cantus firmus in the opening chorus of Bach's St. Matthew Passion. It is included in most German hymnals, and has been translated by Catherine Winkworth, among others.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

"O Mensch, bewein' dein' Sünde groß" (O man, bewail thy sin so great) is a Lutheran Passion hymn with a text written by Sebald Heyden in 1530. The author reflects the Passion of Jesus, based on the Four Evangelists, originally in 23 stanzas. The lyrics were written for an older melody, "Es sind doch selig alle, die im rechten Glauben wandeln" (Zahn No. 8303). The first and last stanzas have appeared in 11 hymnals. Catherine Winkworth translated it as "O man, thy grievous sin bemoan". The hymn has been used in Passion music and is known in Bach's setting as a chorale fantasia closing Part I of his St Matthew Passion.

The Bach-Werke-Verzeichnis (German: [ˈbax ˌvɛʁkə fɐˈtsaɪçnɪs], lit. 'Bach Works Catalogue'; BWV) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990 and the third edition in 2022. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. In part this reflects the fact that some compositions cannot be dated. However, an approximate or precise date can be assigned to others: for example, BWV 992 was composed many years before BWV 1.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

The Bach-Werke-Verzeichnis (German: [ˈbax ˌvɛʁkə fɐˈtsaɪçnɪs], lit. 'Bach Works Catalogue'; BWV) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990 and the third edition in 2022. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. In part this reflects the fact that some compositions cannot be dated. However, an approximate or precise date can be assigned to others: for example, BWV 992 was composed many years before BWV 1.

The Passio secundum Joannem or St John Passion (German: Johannes-Passion), BWV 245, is a Passion or oratorio by Johann Sebastian Bach, the earliest of the surviving Passions by Bach. It was written during his first year as director of church music in Leipzig and was first performed on 7 April 1724, at Good Friday Vespers at the St. Nicholas Church. The structure of the work falls in two halves, intended to flank a sermon. The anonymous libretto draws on existing works (notably by Barthold Heinrich Brockes) and is compiled from recitatives and choruses narrating the Passion of Christ as told in the Gospel of John, ariosos and arias reflecting on the action, and chorales using hymn tunes and texts familiar to a congregation of Bach's contemporaries. Compared with the St Matthew Passion, the St John Passion has been described as more extravagant, with an expressive immediacy, at times more unbridled and less "finished". The work is most often heard today in the 1739–1749 version (never performed during Bach's lifetime). Bach first performed the oratorio in 1724 and revised it in 1725, 1730, and 1749, adding several numbers. "O Mensch, bewein dein Sünde groß", a 1725 replacement for the opening chorus, found a new home in the 1736 St Matthew Passion but several arias from the revisions are found only in the appendices to modern editions.

The structure of the St John Passion (German: Johannes-Passion), BWV 245, a sacred oratorio by Johann Sebastian Bach first performed in Leipzig on Good Friday 1724, is "carefully designed with a great deal of musico-theological intent". Some main aspects of the structure are shown in tables below. The original Latin title Passio secundum Joannem translates to "Passion according to John". Bach's large choral composition in two parts on German text, written to be performed in a Lutheran service on Good Friday, is based on the Passion, as told in two chapters from the Gospel of John (John 18 and John 19) in the translation by Martin Luther, with two short interpolations from the Gospel of Matthew (in the earliest version, one is from the Gospel of Matthew and one from the Gospel of Mark). During the vespers service, the two parts of the work were performed before and after the sermon. Part I covers the events until Peter's denial of Jesus, Part II concludes with the burial of Jesus. The Bible text is reflected in contemporary poetry and in chorales that often end a "scene" of the narration, similar to the way a chorale ends most Bach cantatas. An anonymous poet supplied a few texts himself, quoted from other Passion texts and inserted various stanzas of chorales by nine hymn writers. Bach led the first performance on 7 April 1724 in Leipzig's Nikolaikirche. He repeated it several times between 1724 and 1749, experimenting with different movements and changing others, which resulted in four versions (with a fifth one not performed in Bach's lifetime, but representing the standard version). The Passion, close to Bach's heart, has an "immediate dramatic quality".

The St Mark Passion (German: Markus-Passion), BWV 247, is a lost Passion setting by Johann Sebastian Bach, first performed in Leipzig on Good Friday, 23 March 1731. Though Bach's music is lost, the libretto by Picander is still extant, and from this, the work can to some degree be reconstructed.

The St Matthew Passion (German: Matthäuspassion), BWV 244, is a Passion, a sacred oratorio written by Johann Sebastian Bach in 1727 for solo voices, double choir and double orchestra, with libretto by Picander. It sets the 26th and 27th chapters of the Gospel of Matthew (in the Luther Bible) to music, with interspersed chorales and arias. It is widely regarded as one of the masterpieces of Baroque sacred music. The original Latin title Passio Domini nostri J.C. secundum Evangelistam Matthæum translates to "The Passion of our Lord Jesus Christ according to the Evangelist Matthew".

The Bach-Werke-Verzeichnis (German: [ˈbax ˌvɛʁkə fɐˈtsaɪçnɪs], lit. 'Bach Works Catalogue'; BWV) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990 and the third edition in 2022. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. In part this reflects the fact that some compositions cannot be dated. However, an approximate or precise date can be assigned to others: for example, BWV 992 was composed many years before BWV 1.

Most of Johann Sebastian Bach's extant church music in Latin—settings of (parts of) the Mass ordinary and of the Magnificat canticle—dates from his Leipzig period (1723–50). Bach started to assimilate and expand compositions on a Latin text by other composers before his tenure as Thomaskantor in Leipzig, and he continued to do so after he had taken up that post. The text of some of these examples by other composers was a mixture of German and Latin: also Bach contributed a few works employing both languages in the same composition, for example his early Kyrie "Christe, du Lamm Gottes". The bulk of Bach's sacred music, many hundreds of compositions such as his church cantatas, motets, Passions, oratorios, four-part chorales and sacred songs, was set to a German text, or incorporated one or more melodies associated with the German words of a Lutheran hymn. His output of music on a Latin text, comprising less than a dozen of known independent compositions, was comparatively small: in Lutheranism, and Bach was a Lutheran, church services were generally in the native tongue, which was German for the places where Bach was employed. A few traditional Latin texts, such as the Magnificat and some excerpts of the Mass liturgy, had however not been completely banned from worship practice during the Protestant Reformation. It depended on local traditions whether any of such Latin texts were used in church services occasionally. In Leipzig, compared to Lutheran practice elsewhere, an uncharacteristic amount of Latin was used in church: it included music on Latin texts being performed on ordinary Sundays, on high holidays (Christmas, Easter, Pentecost), and the Magnificat also on Marian feasts (Annunciation, Visitation, Purification). In his first years in Leipzig Bach produced a Latin Magnificat and several settings of the Sanctus. In 1733 he composed a large-scale Kyrie–Gloria Mass for the Catholic court in Dresden. Around the same time he produced the final version of his Magnificat. Probably around 1738–39 he wrote four more Kyrie–Gloria Masses, to a large extent based on earlier compositions. From around 1740 there was an increase of Bach copying and arranging stile antico Latin church music by other composers, which sheds light on a style shift towards more outspoken polyphonic and canonic structures in his own compositions in the last decade of his life. In the last years of his life Bach extracted a cantata on a Latin text from his 1733 Kyrie–Gloria Mass, and finally integrated that Mass, and various other earlier compositions, into his Mass in B minor. Bach's involvement with Latin church music thus stemmed from several circumstances: Assimilating music on a Latin text by other composers (e.g. Bach's German version of Pergolesi's Stabat Mater); A certain, but limited, demand for Latin church music in the places where he was employed as church musician (e.g. his Magnificat); Bach reaching outside the confines of the circumstances of his employment, e.g. soliciting an appointment as Royal and Prince-Electoral court composer with his 1733 Kyrie-Gloria Mass. That being identifiable motivations for his involvement with Latin church music, some questions remain however without conclusive answer, including: Did he compose the four Kyrie-Gloria Masses BWV 233–236 for Leipzig or for elsewhere? As Bach generally only composed music for which he had a performance opportunity in mind, which performance opportunity, if any, could he have been thinking of for his Mass in B minor? From the early 19th century there was a renewed attention for Bach and his music: his Latin church music, including BWV Anh. 167 (published as a composition by Bach in 1805), the Magnificat (published in 1811), BWV 234 (published in 1818) and the Mass in B minor (heralded as "the greatest musical art work of all times and nations" in 1818), received a fair share of that renewed attention – the first 19th-century publication of a work for voices and orchestra on a German text only followed in 1821. In the second half of the 20th century Bach's compositions on a Latin text were grouped in the third chapter of the Bach-Werke-Verzeichnis.

Most of Johann Sebastian Bach's extant church music in Latin—settings of (parts of) the Mass ordinary and of the Magnificat canticle—dates from his Leipzig period (1723–50). Bach started to assimilate and expand compositions on a Latin text by other composers before his tenure as Thomaskantor in Leipzig, and he continued to do so after he had taken up that post. The text of some of these examples by other composers was a mixture of German and Latin: also Bach contributed a few works employing both languages in the same composition, for example his early Kyrie "Christe, du Lamm Gottes". The bulk of Bach's sacred music, many hundreds of compositions such as his church cantatas, motets, Passions, oratorios, four-part chorales and sacred songs, was set to a German text, or incorporated one or more melodies associated with the German words of a Lutheran hymn. His output of music on a Latin text, comprising less than a dozen of known independent compositions, was comparatively small: in Lutheranism, and Bach was a Lutheran, church services were generally in the native tongue, which was German for the places where Bach was employed. A few traditional Latin texts, such as the Magnificat and some excerpts of the Mass liturgy, had however not been completely banned from worship practice during the Protestant Reformation. It depended on local traditions whether any of such Latin texts were used in church services occasionally. In Leipzig, compared to Lutheran practice elsewhere, an uncharacteristic amount of Latin was used in church: it included music on Latin texts being performed on ordinary Sundays, on high holidays (Christmas, Easter, Pentecost), and the Magnificat also on Marian feasts (Annunciation, Visitation, Purification). In his first years in Leipzig Bach produced a Latin Magnificat and several settings of the Sanctus. In 1733 he composed a large-scale Kyrie–Gloria Mass for the Catholic court in Dresden. Around the same time he produced the final version of his Magnificat. Probably around 1738–39 he wrote four more Kyrie–Gloria Masses, to a large extent based on earlier compositions. From around 1740 there was an increase of Bach copying and arranging stile antico Latin church music by other composers, which sheds light on a style shift towards more outspoken polyphonic and canonic structures in his own compositions in the last decade of his life. In the last years of his life Bach extracted a cantata on a Latin text from his 1733 Kyrie–Gloria Mass, and finally integrated that Mass, and various other earlier compositions, into his Mass in B minor. Bach's involvement with Latin church music thus stemmed from several circumstances: Assimilating music on a Latin text by other composers (e.g. Bach's German version of Pergolesi's Stabat Mater); A certain, but limited, demand for Latin church music in the places where he was employed as church musician (e.g. his Magnificat); Bach reaching outside the confines of the circumstances of his employment, e.g. soliciting an appointment as Royal and Prince-Electoral court composer with his 1733 Kyrie-Gloria Mass. That being identifiable motivations for his involvement with Latin church music, some questions remain however without conclusive answer, including: Did he compose the four Kyrie-Gloria Masses BWV 233–236 for Leipzig or for elsewhere? As Bach generally only composed music for which he had a performance opportunity in mind, which performance opportunity, if any, could he have been thinking of for his Mass in B minor? From the early 19th century there was a renewed attention for Bach and his music: his Latin church music, including BWV Anh. 167 (published as a composition by Bach in 1805), the Magnificat (published in 1811), BWV 234 (published in 1818) and the Mass in B minor (heralded as "the greatest musical art work of all times and nations" in 1818), received a fair share of that renewed attention – the first 19th-century publication of a work for voices and orchestra on a German text only followed in 1821. In the second half of the 20th century Bach's compositions on a Latin text were grouped in the third chapter of the Bach-Werke-Verzeichnis.

The Bach-Werke-Verzeichnis (German: [ˈbax ˌvɛʁkə fɐˈtsaɪçnɪs], lit. 'Bach Works Catalogue'; BWV) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990 and the third edition in 2022. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. In part this reflects the fact that some compositions cannot be dated. However, an approximate or precise date can be assigned to others: for example, BWV 992 was composed many years before BWV 1.

The Bach-Werke-Verzeichnis (German: [ˈbax ˌvɛʁkə fɐˈtsaɪçnɪs], lit. 'Bach Works Catalogue'; BWV) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990 and the third edition in 2022. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. In part this reflects the fact that some compositions cannot be dated. However, an approximate or precise date can be assigned to others: for example, BWV 992 was composed many years before BWV 1.

The Bach-Werke-Verzeichnis (German: [ˈbax ˌvɛʁkə fɐˈtsaɪçnɪs], lit. 'Bach Works Catalogue'; BWV) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990 and the third edition in 2022. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. In part this reflects the fact that some compositions cannot be dated. However, an approximate or precise date can be assigned to others: for example, BWV 992 was composed many years before BWV 1.

Songs and arias by Johann Sebastian Bach are compositions listed in Chapter 6 of the Bach-Werke-Verzeichnis (BWV 439–524), which also includes the Quodlibet. Most of the songs and arias included in this list are set for voice and continuo. Most of them are also spiritual, i.e. hymn settings, although a few have a worldly theme. The best known of these, "Bist du bei mir", was however not composed by Bach. An aria by Bach was rediscovered in the 21st century, and was assigned the number BWV 1127. Further hymn settings and arias by Bach are included in his cantatas, motets, masses, passions, oratorios and chorale harmonisations (BWV 1–438 and later additions). The second Anhang of the BWV catalogue also lists a few songs of doubtful authenticity.

Songs and arias by Johann Sebastian Bach are compositions listed in Chapter 6 of the Bach-Werke-Verzeichnis (BWV 439–524), which also includes the Quodlibet. Most of the songs and arias included in this list are set for voice and continuo. Most of them are also spiritual, i.e. hymn settings, although a few have a worldly theme. The best known of these, "Bist du bei mir", was however not composed by Bach. An aria by Bach was rediscovered in the 21st century, and was assigned the number BWV 1127. Further hymn settings and arias by Bach are included in his cantatas, motets, masses, passions, oratorios and chorale harmonisations (BWV 1–438 and later additions). The second Anhang of the BWV catalogue also lists a few songs of doubtful authenticity.

Singet dem Herrn ein neues Lied (Sing unto the Lord a new song), BWV 225, is a motet by Johann Sebastian Bach. It was first performed in Leipzig around (probably) 1727. The text of the three-movement motet is in German: after Psalm 149 for its first movement (Psalms 149:1–3), the third stanza of "Nun lob, mein Seel, den Herren" (a 1530 hymn after Psalm 103 by Johann Gramann) for the second movement, and after Psalm 150:2 and 6 for its third movement Psalms 150:2,6. The motet is described as being for double-choir (in other words eight voices divided into two four-part choirs). It may have been composed to provide choral exercises for Bach's students at the Thomasschule. The motet's biblical text would have been suited to that purpose. The final four-part fugue is titled "Alles was Odem hat" ("All that have voice, praise the Lord!"). Robert Marshall writes that it is "certain" that this motet was one heard by Wolfgang Amadeus Mozart when he visited Leipzig's Thomasschule in 1789. Johann Friedrich Rochlitz, who graduated from the Thomasschule and remained in Leipzig to study theology in 1789, reported ten years later that Johann Friedrich Doles (a student of Bach, who through 1789 was cantor of the Thomasschule and director of the Thomanerchor) "surprised Mozart with a performance of the double-choir motet Singet dem Herrn ein neues Lied by Sebastian Bach... he was told that the school possessed a complete collection of his motets and preserved them as a sort of sacred relic. 'That's the spirit! That's fine!' [Mozart] cried. 'Let's see them!' There was, however, no score... so he had the parts given to him, and ... sat himself down with the parts all around him." Rochlitz also reports that Mozart requested a copy, and "valued it very highly..."

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Songs and arias by Johann Sebastian Bach are compositions listed in Chapter 6 of the Bach-Werke-Verzeichnis (BWV 439–524), which also includes the Quodlibet. Most of the songs and arias included in this list are set for voice and continuo. Most of them are also spiritual, i.e. hymn settings, although a few have a worldly theme. The best known of these, "Bist du bei mir", was however not composed by Bach. An aria by Bach was rediscovered in the 21st century, and was assigned the number BWV 1127. Further hymn settings and arias by Bach are included in his cantatas, motets, masses, passions, oratorios and chorale harmonisations (BWV 1–438 and later additions). The second Anhang of the BWV catalogue also lists a few songs of doubtful authenticity.

Songs and arias by Johann Sebastian Bach are compositions listed in Chapter 6 of the Bach-Werke-Verzeichnis (BWV 439–524), which also includes the Quodlibet. Most of the songs and arias included in this list are set for voice and continuo. Most of them are also spiritual, i.e. hymn settings, although a few have a worldly theme. The best known of these, "Bist du bei mir", was however not composed by Bach. An aria by Bach was rediscovered in the 21st century, and was assigned the number BWV 1127. Further hymn settings and arias by Bach are included in his cantatas, motets, masses, passions, oratorios and chorale harmonisations (BWV 1–438 and later additions). The second Anhang of the BWV catalogue also lists a few songs of doubtful authenticity.

Songs and arias by Johann Sebastian Bach are compositions listed in Chapter 6 of the Bach-Werke-Verzeichnis (BWV 439–524), which also includes the Quodlibet. Most of the songs and arias included in this list are set for voice and continuo. Most of them are also spiritual, i.e. hymn settings, although a few have a worldly theme. The best known of these, "Bist du bei mir", was however not composed by Bach. An aria by Bach was rediscovered in the 21st century, and was assigned the number BWV 1127. Further hymn settings and arias by Bach are included in his cantatas, motets, masses, passions, oratorios and chorale harmonisations (BWV 1–438 and later additions). The second Anhang of the BWV catalogue also lists a few songs of doubtful authenticity.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

"Valet will ich dir geben" is a Lutheran hymn written by Valerius Herberger in 1613. It is a Sterbelied (hymn for the dying). The text was published with two hymn tunes by Melchior Teschner, Zahn Nos. 5403 and 5404a, in 1615. The second of these melodies was used in compositions such as chorale preludes by Johann Sebastian Bach and Max Reger. Bach used single stanzas in vocal works, including his St John Passion. Catherine Winkworth made a metrical translation to "Farewell I Gladly Bid Thee" which also appeared with the second tune as No. 137 in The Chorale Book for England in 1865.

"Vater unser im Himmelreich" (Our Father in Heaven) is a Lutheran hymn in German by Martin Luther. He wrote the paraphrase of the Lord's Prayer in 1538, corresponding to his explanation of the prayer in his Kleiner Katechismus (Small Catechism). He dedicated one stanza to each of the seven petitions and framed it with an opening and a closing stanza, each stanza in six lines. Luther revised the text several times, as extant manuscript show, concerned to clarify and improve it. He chose and possibly adapted an older anonymous melody, which was possibly associated with secular text, after he had first selected a different one. Other hymn versions of the Lord's Prayer from the 16th and 20th-century have adopted the same tune, known as "Vater unser" and "Old 112th". The hymn was published in Leipzig in 1539 in Valentin Schumann's hymnal Gesangbuch, with a title explaining "The Lord's Prayer briefly expounded and turned into metre". It was likely first published as a broadsheet. The hymn was translated into English in several versions, for example "Our Father, Thou in Heaven Above" by Catherine Winkworth in 1863 and "Our Father, Lord of Heaven and Earth" by Henry J. de Jong in 1982. In the current German hymnal Evangelisches Gesangbuch (EG) it is number 344.

Songs and arias by Johann Sebastian Bach are compositions listed in Chapter 6 of the Bach-Werke-Verzeichnis (BWV 439–524), which also includes the Quodlibet. Most of the songs and arias included in this list are set for voice and continuo. Most of them are also spiritual, i.e. hymn settings, although a few have a worldly theme. The best known of these, "Bist du bei mir", was however not composed by Bach. An aria by Bach was rediscovered in the 21st century, and was assigned the number BWV 1127. Further hymn settings and arias by Bach are included in his cantatas, motets, masses, passions, oratorios and chorale harmonisations (BWV 1–438 and later additions). The second Anhang of the BWV catalogue also lists a few songs of doubtful authenticity.

Songs and arias by Johann Sebastian Bach are compositions listed in Chapter 6 of the Bach-Werke-Verzeichnis (BWV 439–524), which also includes the Quodlibet. Most of the songs and arias included in this list are set for voice and continuo. Most of them are also spiritual, i.e. hymn settings, although a few have a worldly theme. The best known of these, "Bist du bei mir", was however not composed by Bach. An aria by Bach was rediscovered in the 21st century, and was assigned the number BWV 1127. Further hymn settings and arias by Bach are included in his cantatas, motets, masses, passions, oratorios and chorale harmonisations (BWV 1–438 and later additions). The second Anhang of the BWV catalogue also lists a few songs of doubtful authenticity.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Ein feste Burg ist unser Gott (A Mighty Fortress Is Our God), BWV 80 (also: BWV 80.3), is a chorale cantata for Reformation Day by Johann Sebastian Bach. He reworked it from one of his Weimar cantatas, Alles, was von Gott geboren, BWV 80a (also: BWV 80.1). The first Leipzig version of the church cantata, BWV 80b (also: BWV 80.2), may have been composed as early as 1723, some five months after Bach had moved to Leipzig. Some years later he reworked the cantata one more time, writing an extended chorale fantasia as its opening movement. The text of the BWV 80a version was written by Salomon Franck and contained one stanza of Martin Luther's hymn "Ein feste Burg ist unser Gott"; for his chorale cantata versions, BWV 80b and 80, Bach added the complete text of this Lutheran hymn. Bach scored the cantata for four vocal soloists, a four-part choir and a Baroque chamber ensemble of up to three oboes of different kinds, strings and continuo. After his death, his son Wilhelm Friedemann Bach arranged the first and fifth movements, adopting a new text and adding trumpets and timpani. Ein feste Burg ist unser Gott was published in 1821, the first of Bach's cantatas published after his death. The Bach Gesellschaft edition appeared half a century later, and included an extended instrumentation by Wilhelm Friedemann.

The title Notebook for Anna Magdalena Bach (German: Notenbüchlein für Anna Magdalena Bach) refers to either of two manuscript notebooks that the German Baroque composer Johann Sebastian Bach presented to his second wife, Anna Magdalena. Keyboard music (minuets, rondeaux, polonaises, chorales, sonatas, preludes, musettes, marches, gavottes) makes up most of both notebooks, and a few pieces for voice (songs, and arias) are included. The Notebooks provide a glimpse into the domestic music of the 18th century and the musical tastes of the Bach family. The second notebook contains a mixture of pieces known to be by J. S. Bach, pieces known to be by others, and pieces whose authorship is unknown or debated.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

"Warum sollt ich mich denn grämen" (Why should I then grieve) is a Lutheran hymn with a text by Paul Gerhardt written in 1653. It was first published that same year in the fifth edition of Johann Crüger's hymnal Praxis Pietatis Melica, set to a melody composed by Crüger. In the 1993 Protestant hymnal, Evangelisches Gesangbuch, it appears as number 370 with a melody composed by Johann Georg Ebeling, which was published with the divergent title "Warum sollt ich mich doch grämen" in Pauli Gerhardi Geistliche Andachten in 1666.

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 (BWV 250–252), 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.

Songs and arias by Johann Sebastian Bach are compositions listed in Chapter 6 of the Bach-Werke-Verzeichnis (BWV 439–524), which also includes the Quodlibet. Most of the songs and arias included in this list are set for voice and continuo. Most of them are also spiritual, i.e. hymn settings, although a few have a worldly theme. The best known of these, "Bist du bei mir", was however not composed by Bach. An aria by Bach was rediscovered in the 21st century, and was assigned the number BWV 1127. Further hymn settings and arias by Bach are included in his cantatas, motets, masses, passions, oratorios and chorale harmonisations (BWV 1–438 and later additions). The second Anhang of the BWV catalogue also lists a few songs of doubtful authenticity.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

The Bach-Werke-Verzeichnis (German: [ˈbax ˌvɛʁkə fɐˈtsaɪçnɪs], lit. 'Bach Works Catalogue'; BWV) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990 and the third edition in 2022. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. In part this reflects the fact that some compositions cannot be dated. However, an approximate or precise date can be assigned to others: for example, BWV 992 was composed many years before BWV 1.

The Bach-Werke-Verzeichnis (German: [ˈbax ˌvɛʁkə fɐˈtsaɪçnɪs], lit. 'Bach Works Catalogue'; BWV) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990 and the third edition in 2022. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. In part this reflects the fact that some compositions cannot be dated. However, an approximate or precise date can be assigned to others: for example, BWV 992 was composed many years before BWV 1.

The Bach-Werke-Verzeichnis (German: [ˈbax ˌvɛʁkə fɐˈtsaɪçnɪs], lit. 'Bach Works Catalogue'; BWV) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990 and the third edition in 2022. The catalogue groups compositions by genre. Even within a genre, compositions are not necessarily collated chronologically. In part this reflects the fact that some compositions cannot be dated. However, an approximate or precise date can be assigned to others: for example, BWV 992 was composed many years before BWV 1.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

Organ compositions by Johann Sebastian Bach refers to the compositions in the seventh chapter of the Bach-Werke-Verzeichnis (BWV, catalogue of Bach's compositions), or, in the New Bach Edition, the compositions in Series IV.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

"Bist du bei mir, geh ich mit Freuden" (If you are with me, I go with joy) is an aria from Gottfried Heinrich Stölzel's opera Diomedes, which was first staged on 16 November 1718. The aria is best known as "Bist du bei mir," BWV 508, a version for voice and continuo found as No. 25 in the 1725 Notebook for Anna Magdalena Bach.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.

Johann Sebastian Bach's vocal music includes cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, viola da gamba, cello, flute, chamber ensemble, and orchestra. There are over 1,000 known compositions by Bach. Almost all are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.