History
The compositions by Johann Sebastian Bach that had been List of compositions by Johann Sebastian Bach printed during his lifetime, printed during his lifetime were nearly exclusively instrumental works. Moreover, by the time Bach died in 1750 it was forgotten that a few of his vocal works (BWV 71, List of songs and arias by Johann Sebastian Bach#Schemellis Gesangbuch, BWV 439–507,...) had indeed been printed in the first half of the 18th century. In the period between the publication of ''The Art of Fugue'' in the early 1750s, and the publication of further works from 1800, only one group of Bach's works was published: his four-part chorales. The most complete 18th century publication of chorales by J. S. Bach is Carl Philipp Emanuel Bach's edition in four volumes, published by Johann Gottlob Immanuel Breitkopf, Breitkopf from 1784 to 1787. About half of the chorale harmonisations in this collection have their origin in other extant works by Bach. This collection went through four more editions and countless reprintings until 1897. Several other collections of chorales by J. S. Bach were published, some of these using the original Clef#C-clefs, C-clefs or different texts. The loss of musical material from Bach's death to the first printings of chorale collections may have been substantial. Not only are many works the chorales were extracted from no longer extant but there is no way of knowing how much of all the harmonisations that were once compiled the current collections include. For example, there is no way of knowing how many of the 150 harmonisations first proposed for sale in 1764 also appear in Princess Anna Amalia's manuscript which ultimately forms the basis of the Breitkopf edition. As to the chorale melodies with figured bass, current collections include less than one hundred of them whereas those proposed for sale in 1764 numbered 240. The chorale harmonisations BWV 250–438 were probably all extracted from lost larger vocal works. For six of them the work they have been derived from has been identified. Bach's chorale harmonisations are all for a four-part choir (SATB), but Albert Riemenschneider, Riemenschneider's and Charles Sanford Terry (historian), Terry's collections contain one 5-part SSATB choral harmonisation (''Welt, ade! ich bin dein müde'', Riemenscheider No. 150, Terry No. 365), not actually by Bach, but used by Bach as the concluding chorale to cantata Wer weiß, wie nahe mir mein Ende? BWV 27, ''Wer weiß, wie nahe mir mein Ende'', BWV 27. Some harmonisations exist in different key (music), keys, i.e. pitch (music), pitches, in 18th-century sources: for instance a Bach cantata autograph gives the four-part chorale in one key, and the same harmonisation is found in one or more of the early chorale compilations in a different key.Manuscripts
The first record of the existence and sale of groups of collected chorale harmonisations and chorale melodies with figured bass extracted from larger works by J.S. Bach is from 1764, fourteen years after Bach's death. In that year the firm Breitkopf und Sohn announced for sale manuscript copies of 150 chorale harmonisations and 240 chorale melodies with figured bass by J.S. Bach. In 1777 Johann Kirnberger started an active letter campaign to induce Breitkopf to publish a complete set of chorale harmonisations. Kirnberger's letters emphasize his motivation to have the chorales printed in order to preserve them for the benefit of future generations. The manuscript to be used once belonged to C. P. E. Bach, who sold it through Kirnberger to Princess Anna Amalia of Prussia (for twelve louis d'or). It is presumed that this manuscript contained neither the text of the chorales nor any reference to the larger works from which the harmonisations had been taken. The manuscript's harmonisations extracted only the vocal parts and ignored the instrumental parts and the continuo, even though all of Bach's chorale settings included both instrumental parts and continuo. The instrumental parts were either independent, so called obbligato instrumental parts, or mostly doubled the vocal parts sometimes separating from it for a very few beats, and the continuo had its bass mostly double the vocal bass at the lower octave, but could also separate from it for a very few beats. Finally in some cases, for reasons unknown, whoever extracted the chorale from the larger work, changed the key of the setting. ; "Y" manuscript hypothesis : Hypothetical early autograph collection of chorale harmonisations from which Bach would have selected settings he later integrated into his larger vocal works. ; Larger vocal works manuscripts : Mostly extant as autograph score and/or as parts written out under Bach's supervision: many of these works, such as cantatas and Passions, include four-part chorales ; ''Three Wedding Chorales'' autograph : Bach's autograph of the wedding chorales BWV 250–252, written between 1734 and 1738. ; Dietel manuscript, a.k.a. Dietel Collection and, in German, Choralsammlung Dietel : : Earliest of the extant larger collection of chorale harmonisations manuscripts. It contains 149 chorale harmonisations (not 150 as is written on its title page) and originated around 1735. The music in the manuscript was copied by Johann Ludwig Dietel, one of Bach's pupils from the Thomasschule.Printed editions
A few chorale harmonisations had been published before Bach adopted them into his larger vocal works, and are therefore listed as spurious in the BWV Anh. III, third annex of the BWV catalogue: * , also known as closing movement of cantata BWV 27: five-part harmonisation published, for instance, in Gottfried Vopelius, Vopelius' 1682 Neu Leipziger Gesangbuch#p. 947, ''Neu Leipziger Gesangbuch'', p. 947. * Cantata BWV 43, movement 11: harmonisation by published in 1652, later adopted in Vopelius' ''Neu Leipziger Gesangbuch'': Neu Leipziger Gesangbuch#p. 70, "Ermuntre dich, mein schwacher Geist", p. 70. * Cantata BWV 8, movement 6 (BWV 8/6): Daniel Vetter's four-part setting of "Liebster Gott, wann werd ich sterben", published in 1713. Several more harmonisations stay close to the version published by Vopelius: for example "Christus, der ist mein Leben", BWV 281, is a variant of the harmonisation found in the ''Neu Leipziger Gesangbuch'', with added embellishments and the harmonic structure altered for one of the tune's four phrases. Printed collections of Bach's harmonisations usually provide an alphabetical collation of the chorales, that is, ranged alphabetically by text incipit of the hymn. Some editions contain an alphabetical index at the end of the compilation, for instance at the end of the final volume of C. P. E. Bach's 18th-century collection. Other editions, such as the Breitkopf compilations of 1892 and 1899, present the chorales themselves in alphabetical order. However, not all of these alphabetical collations result in analogous chorale sequences. Some major differences in this respect result from chorales that are known by different names: in that case it depends on the editor which name is used for the collation. For example, the melody of "Ach, lieben Christen, seid getrost" also being known as "Wo Gott der Herr nicht bei uns hält" it is an editor's discretion whether BWV 256 is found early on''Johann Sebastian Bach's Werke'' (BGA), Bach Gesellschaft, Bach-Gesellschaft Leipzig, ed. Franz Wüllner, Breitkopf & Härtel, vol 39 (1892) and ''Schlußband'' (final volume) (1899). or near the endBernhard Friedrich Richter (editor)18th century
Some of Bach's voice and thoroughbass settings published in Georg Christian Schemelli's 1736 ''List of songs and arias by Johann Sebastian Bach#Schemellis Gesangbuch, Musicalisches Gesang-Buch'' are better known in their four-part realisation included in the chorale harmonisation collections. ; Chorales published by Birnstiel (200) : In 1765 F. W. Birnstiel published 100 chorales in Berlin. The edition had been initiated by Friedrich Wilhelm Marpurg, F. W. Marpurg and completed, edited and supplemented with a preface and a list of errata by C. P. E. Bach. A second volume of 100 was issued by the same publisher in 1769, edited by Johann Friedrich Agricola, J. F. Agricola. C. P. E. Bach criticised this publication as being full of mistakes in an article which was published in Hamburg in the ''Staats- und Gelehrte Zeitung des Hamburgischen unpartheyeschen Correspondenten'' on 30 May 1769, in which he also claimed that some of the chorale harmonisations included in the volume had not been composed by his father. ; C. P. E. Bach's edition for Breitkopf (371) : After Kirnberger died in 1783, C. P. E. Bach became Breitkopf's editor for the chorales, which he then published in four parts: :* Vol. I (1784): Nos. 1–96 :* Vol. II (1785): Nos. 97–194 :* Vol. III (1786): Nos. 195–283 :* Vol. IV (1787): Nos. 283–370 : Since the number 283 was used twice (last number of Vol. III and first number of Vol. IV), the collection actually contained 371 items. The collection also contained several doubles (e.g. No. 156 is identical to No. 307): it totalled 348 independent harmonisations.19th century
C. P. E. Bach's selection of 371 chorale harmonisations was republished a few times in the 19th century, for instance by Carl Ferdinand Becker in 1832 (third edition), and by Alfred Dörffel in 1870. ; Bach Gesellschaft (larger vocal works + 3 + 185): The Bach-Gesellschaft Ausgabe (BGA, Bach Gesellschaft edition) kept the chorale settings that were part of a larger vocal work (cantata, motet, Passion or oratorio) together with these larger vocal works and added the ''Three Wedding Chorales'' to its 13th volume containing wedding cantatas. The remaining separate four-part chorales, purged from doubles, were ordered alphabetically and numbered from 1 to 185 in the 39th volume which was published in 1892. ; Richter's edition for Breitkopf (389) : In the late 19th century Bernhard Friedrich Richter collected all straightforward chorale harmonisations that had appeared in the BGA edition —including as well the separate ones as those from larger vocal works—, added a "Herr Gott, dich loben alle wir" harmonisation from a variant version of Herr Gott, dich loben alle wir, BWV 130, Cantata 130, and numbered all of these chorales in alphabetical order. The set contained a few doubtful and spurious settings (e.g. from Georg Philipp Telemann, Telemann cantatas which at the time were still attributed to Bach), but four-part settings which were part of a more complex texture (e.g. the fifth movement of BWV 22, Cantata 22 where the vocal homophony is supplemented by instrumental figuration) were not always included by Richter. The set was published by Breitkopf as ''Joh. Seb. Bach: 389 Choral-Gesänge für gemischten Chor'' in 1899.20th century
The ''Bach-Werke-Verzeichnis'', published in 1950, did not assign a separate BWV number to harmonisations contained in extant larger vocal works such as cantatas and Passions. The ''Three Wedding Chorales'' were assigned the numbers 250 to 252, and the 185 (+1: see #186 four-part chorales in BGA Vol. 39, BWV 253–438, below) four-part chorales contained in Vol. 39 of the BGA edition were given, in the same order, the numbers 253 to 438. ; Terry (405) : Published in 1929, Charles Sanford Terry's ''J. S. Bach's Four-Part Chorales'' contains 405 chorale harmonisations and 95 melodies with figured bass. The collection was reprinted 1964, with a foreword by Walter Emery. ; Riemenschneider (371) : Albert Riemenschneider's collection of 371 chorales was published in 1941. It contained the same 371 settings as the C. P. E. Bach edition for Breitkopf, but with a few differences in the collation. In some cases Riemenschneider restored some information about obbligato instrumental parts based on extant larger works, e.g. his No. 270 from cantata BWV 161, or about the continuo bass line if this does not exactly coincide with the vocal bass, e.g. his No. 29 from cantata BWV 32 and his No. 35 from the ''Christmas Oratorio''. Riemenschneider did however not restore original keys to the extant larger works, but instead kept the chorales in the keys as they had been published in the Breitkopf collection, e.g. his No. 22, in E-flat major, comes from cantata BWV 180 where it is in F major. At times the key signature in Riemenschneider's edition does not correspond to the key, for instance No. 19, in G minor but written with a "Dorian" G key signature. This too is presumably reproduced from the Breitkopf edition, which would have followed a common 17th- and 18th-century practice. ; Editio Musica Budapest (388) : Editio Musica Budapest (EMB) published Imre Sulyok's edition of 388 chorale harmonisations in 1982. With a few differences (e.g. a de-doubling of the near-identical BWV 253 and 414, and some differences in the collation) the collection is largely comparable to the Richter edition. ; Kalmus (389) : Kalmus republished the 389 chorales of Richter's collection. ; NBA : The New Bach Edition published the ''Three Wedding Chorales'' and the four-part chorales contained in the Dietel collection in 1991 (Series III, Vol. 2/1). The chorales from C. P. E. Bach's collection were published in 1996 (Series III, Vol. 2/2). Vol. 3 of the same series, published in 2002, contains a few chorales of doubtful authenticity found in other manuscripts and early editions. Vol. 9 of the second series, published in 2000, contains a few doubtful chorales found in various Passions. Better known chorale harmonisations are also contained in other volumes of series I (cantatas), II (Passions and oratorios) and V (e.g. BWV 299 as contained in the ''Notebook for Anna Magdalena Bach'').21st century
; Czarnecki (413) : Christopher Czarnecki (editor). ''J.S. Bach 413 Chorales''. SeeZar Publications, 2014. ; Dahn (420) : Luke Dahn (editor). ''J.S. Bach Chorales: a new critical and complete edition arranged by BWV catalogue number with text and historical contextual information included for each chorale with numerous indices included in the appendix.'' LuxSitPress, 2017.Chorale harmonisations in various collections
Most of Bach's known chorale harmonisations are movements in his extant cantatas, motets, Passions and oratorios. These are compositions which have a BWV number ranging from 1 to 249. BWV 250 to 438 is the range of the separate four-part chorales. Chorale harmonisations with a number above 438 are mostly later additions to the BWV catalogue. The 5th chapter of the BWV2a, 1998 edition of the ''Bach-Werke-Verzeichnis'' (BWV2a) contains the chorales BWV 250–438, and some later additions (BWV 500a, 1084, 1089 and 1122–1126).Numbering conventions
All BWV numbers used in the listings below are according to the latest version of the ''Bach-Werke-Verzeichnis'' and further updates of these numbers found at the Bach Digital website. When a BWV number is followed by a slash ("/"), the number or letter after that slash indicates the movement in the composition. Settings from ''Schemellis Gesangbuch'' are indicated by their BWV number (BWV 439–507), by the number of the hymn in the original publication (Nos. 1–954),Georg Christian Schemelli, editor; Johann Sebastian Bach, composer and arrangerIn larger vocal works
More than 200 of Bach's over 400 homophonic chorale harmonisations survived in his larger vocal works.In church cantatas
Four-part chorales also appearing as cantata movements composed by Johann Sebastian Bach (verse incipits, and their translations by Pamela Dellal, from the Emmanuel Music website unless otherwise indicated): BWV Wie schön leuchtet der Morgenstern, BWV 1, 1/BWV 1#6, 6: "Wie bin ich doch so herzlich froh" ("How happy I am", v. 7 of "Wie schön leuchtet der Morgenstern") • Ach Gott, vom Himmel sieh darein, BWV 2, 2/BWV 2#6, 6: "Das wollst du, Gott, bewahren rein" ("This, God, you would keep pure", v. 6 of Ach Gott, vom Himmel sieh darein") • Ach Gott, wie manches Herzeleid, BWV 3, 3/BWV 3#6, 6: "Erhalt mein Herz im Glauben rein" ("If my heart remains pure in faith", v. 18 of "Ach Gott, wie manches Herzeleid") • Christ lag in Todes Banden, BWV 4, 4/8 • Wo soll ich fliehen hin, BWV 5, 5/7 • Bleib bei uns, denn es will Abend werden, BWV 6, 6/6 • Christ unser Herr zum Jordan kam, BWV 7, 7/7 • Es ist das Heil uns kommen her, BWV 9, 9/7 • Meine Seel erhebt den Herren, BWV 10, 10/7 • Weinen, Klagen, Sorgen, Zagen, BWV 12, 12/7 • Meine Seufzer, meine Tränen, BWV 13, 13/6 • Wär Gott nicht mit uns diese Zeit, BWV 14, 14/5 • Herr Gott, dich loben wir, BWV 16, 16/6 • Wer Dank opfert, der preiset mich, BWV 17, 17/7 • Gleichwie der Regen und Schnee vom Himmel fällt, BWV 18, 18/5 • Es erhub sich ein Streit, BWV 19, 19/7 • O Ewigkeit, du Donnerwort, BWV 20, 20/7=/11 • Jesus nahm zu sich die Zwölfe, BWV 22, 22/5 • Ein ungefärbt Gemüte, BWV 24, 24/6 • Es ist nichts Gesundes an meinem Leibe, BWV 25, 25/6 • Ach wie flüchtig, ach wie nichtig, BWV 26, 26/6 • Gottlob! nun geht das Jahr zu Ende, BWV 28, 28/6 • Wir danken dir, Gott, wir danken dir, BWV 29, 29/8 • Freue dich, erlöste Schar, BWV 30, 30/6 • Der Himmel lacht! Die Erde jubilieret, BWV 31, 31/9 • Liebster Jesu, mein Verlangen, BWV 32, 32/6 • Allein zu dir, Herr Jesu Christ, BWV 33, 33/6 • Schwingt freudig euch empor, BWV 36, 36/4 and /8 • Wer da gläubet und getauft wird, BWV 37, 37/6 • Aus tiefer Not schrei ich zu dir, BWV 38, 38/6 • Brich dem Hungrigen dein Brot, BWV 39, 39/7 • Darzu ist erschienen der Sohn Gottes, BWV 40, 40/3, /6 and /8 • Jesu, nun sei gepreiset, BWV 41, 41/6 • Am Abend aber desselbigen Sabbats, BWV 42, 42/7 • Sie werden euch in den Bann tun, BWV 44, 44/7 • Es ist dir gesagt, Mensch, was gut ist, BWV 45, 45/7 • Schauet doch und sehet, ob irgend ein Schmerz sei, BWV 46, 46/6 • Wer sich selbst erhöhet, der soll erniedriget werden, BWV 47, 47/5 • Ich elender Mensch, wer wird mich erlösen, BWV 48, 48/3 and /7 • Falsche Welt, dir trau ich nicht, BWV 52, 52/6 • Ich armer Mensch, ich Sündenknecht, BWV 55, 55/5 • Ich will den Kreuzstab gerne tragen, BWV 56, 56/5 • Selig ist der Mann, BWV 57, 57/8 • Wer mich liebet, der wird mein Wort halten, BWV 59, 59/3 • O Ewigkeit, du Donnerwort, BWV 60, 60/5 • Nun komm, der Heiden Heiland, BWV 62, 62/6 64. • Sehet, welch eine Liebe hat uns der Vater erzeiget, BWV 64, 64/2, /4 and /8 • Sie werden aus Saba alle kommen, BWV 65, 65/2 and /7 • Erfreut euch, ihr Herzen, BWV 66, 66/6 • Halt im Gedächtnis Jesum Christ, BWV 67, 67/4 and /7 • Lobe den Herrn, meine Seele, BWV 69, 69/6 • Lobe den Herrn, meine Seele, BWV 69a, 69a/6 • Wachet! betet! betet! wachet! BWV 70, 70/7 and /11 • Alles nur nach Gottes Willen, BWV 72, 72/6 • Herr, wie du willt, so schicks mit mir, BWV 73, 73/5 • Wer mich liebet, der wird mein Wort halten, BWV 74, 74/8 • Die Elenden sollen essen, BWV 75, 75/7=/14 • Die Himmel erzählen die Ehre Gottes, BWV 76, 76/7=/14 • Du sollt Gott, deinen Herren, lieben, BWV 77, 77/6 • Jesu, der du meine Seele, BWV 78, 78/7 79. • Gott der Herr ist Sonn und Schild, BWV 79, 79/3 and /6 • Ein feste Burg ist unser Gott, BWV 80, 80/8 • Jesus schläft, was soll ich hoffen? BWV 81, 81/7 • Erfreute Zeit im neuen Bunde, BWV 83, 83/5 • Ich bin vergnügt mit meinem Glücke, BWV 84, 84/5 • Ich bin ein guter Hirt, BWV 85, 85/6 • Wahrlich, wahrlich, ich sage euch, BWV 86, 86/6 • Bisher habt ihr nichts gebeten in meinem Namen, BWV 87, 87/7 • Siehe, ich will viel Fischer aussenden, BWV 88, 88/7 • Was soll ich aus dir machen, Ephraim, BWV 89, 89/6 • Es reißet euch ein schrecklich Ende, BWV 90, 90/5 • Gelobet seist du, Jesu Christ, BWV 91, 91/6 • Ich hab in Gottes Herz und Sinn, BWV 92, 92/9 • Wer nur den lieben Gott läßt walten, BWV 93, 93/7 • Was frag ich nach der Welt, BWV 94, 94/8 • Christus, der ist mein Leben, BWV 95, 95/1 (extract: #BWV 282, 282) and /7 • Herr Christ, der einge Gottessohn, BWV 96, 96/6 • In allen meinen Taten, BWV 97, 97/9 • Was Gott tut, das ist wohlgetan, BWV 99, 99/6 • Was Gott tut, das ist wohlgetan, BWV 100, 100/6 • Nimm von uns, Herr, du treuer Gott, BWV 101, 101/7 • Herr, deine Augen sehen nach dem Glauben, BWV 102, 102/7 • Ihr werdet weinen und heulen, BWV 103, 103/6 • Du Hirte Israel, höre, BWV 104, 104/6 • Herr, gehe nicht ins Gericht mit deinem Knecht, BWV 105, 105/6 • Was willst du dich betrüben, BWV 107, 107/7 • Es ist euch gut, daß ich hingehe, BWV 108, 108/6 • Unser Mund sei voll Lachens, BWV 110, 110/7 • Was mein Gott will, das g'scheh allzeit, BWV 111, 111/6 • Der Herr ist mein getreuer Hirt, BWV 112, 112/5 • Herr Jesu Christ, du höchstes Gut, BWV 113, 113/1 and /8 • Ach, lieben Christen, seid getrost, BWV 114, 114/7 • Mache dich, mein Geist, bereit, BWV 115, 115/6 • Du Friedefürst, Herr Jesu Christ, BWV 116, 116/6 • Sei Lob und Ehr dem höchsten Gut, BWV 117, 117/4=/9 • Preise, Jerusalem, den Herrn, BWV 119, 119/9 • Gott, man lobet dich in der Stille, BWV 120, 120/6 • Herr Gott, Beherrscher aller Dinge, BWV 120a, 120a/8 • Christum wir sollen loben schon, BWV 121, 121/6 • Das neugeborne Kindelein, BWV 122, 122/6 • Liebster Immanuel, Herzog der Frommen, BWV 123, 123/6 • Meinen Jesum laß ich nicht, BWV 124, 124/6 • Mit Fried und Freud ich fahr dahin, BWV 125, 125/6 • Erhalt uns, Herr, bei deinem Wort, BWV 126, 126/6 • Herr Jesu Christ, wahr' Mensch und Gott, BWV 127, 127/5 • Auf Christi Himmelfahrt allein, BWV 128, 128/5 • Gelobet sei der Herr, mein Gott, BWV 129, 129/5 • Herr Gott, dich loben alle wir, BWV 130, 130/6 • Ich freue mich in dir, BWV 133, 133/6 • Ach Herr, mich armen Sünder, BWV 135, 135/6 • Erforsche mich, Gott, und erfahre mein Herz, BWV 136, 136/6 • Lobe den Herren, den mächtigen König der Ehren, BWV 137, 137/5 • Wohl dem, der sich auf seinen Gott, BWV 139, 139/6 • Wachet auf, ruft uns die Stimme, BWV 140, 140/7 • Nimm, was dein ist, und gehe hin, BWV 144, 144/3 and /6 • Ich lebe, mein Herze, zu deinem Ergötzen, BWV 145, 145/a and /5 • Wir müssen durch viel Trübsal, BWV 146, 146/8 • Herz und Mund und Tat und Leben, BWV 147, 147/6=/10 • Bringet dem Herrn Ehre seines Namens, BWV 148, 148/6 • Man singet mit Freuden vom Sieg, BWV 149, 149/7 • Süßer Trost, mein Jesus kömmt, BWV 151, 151/5 153. • Schau, lieber Gott, wie meine Feind, BWV 153, 153/1, /5 and /9 • Mein liebster Jesus ist verloren, BWV 154, 154/3 and /8 • Mein Gott, wie lang, ach lange? BWV 155, 155/5 • Ich steh mit einem Fuß im Grabe, BWV 156, 156/6 • Ich lasse dich nicht, du segnest mich denn, BWV 157, 157/5 • Der Friede sei mit dir, BWV 158, 158/4 • Sehet, wir gehn hinauf gen Jerusalem, BWV 159, 159/5 • Komm, du süße Todesstunde, BWV 161, 161/6 • Ach! ich sehe, itzt, da ich zur Hochzeit gehe, BWV 162, 162/6 • Ihr, die ihr euch von Christo nennet, BWV 164, 164/6 • O heilges Geist- und Wasserbad, BWV 165, 165/6 • Wo gehest du hin? BWV 166, 166/6 • Ihr Menschen, rühmet Gottes Liebe, BWV 167, 167/5 • Tue Rechnung! Donnerwort, BWV 168, 168/6 • Gott soll allein mein Herze haben, BWV 169, 169/7 • Gott, wie dein Name, so ist auch dein Ruhm, BWV 171, 171/6 • Erschallet, ihr Lieder, erklinget, ihr Saiten! BWV 172, 172/6 • Ich liebe den Höchsten von ganzem Gemüte, BWV 174, 174/5 • Er rufet seinen Schafen mit Namen, BWV 175, 175/7 • Es ist ein trotzig und verzagt Ding, BWV 176, 176/6 • Ich ruf zu dir, Herr Jesu Christ, BWV 177, 177/5 • Wo Gott der Herr nicht bei uns hält, BWV 178, 178/7 • Siehe zu, daß deine Gottesfurcht nicht Heuchelei sei, BWV 179, 179/6 • Schmücke dich, o liebe Seele, BWV 180, 180/7 • Sie werden euch in den Bann tun, BWV 183, 183/5 • Erwünschtes Freudenlicht, BWV 184, 184/5 • Barmherziges Herze der ewigen Liebe, BWV 185, 185/6 • Es wartet alles auf dich, BWV 187, 187/7 • Ich habe meine Zuversicht, BWV 188, 188/6 • Singet dem Herrn ein neues Lied, BWV 190, 190/7 • Höchsterwünschtes Freudenfest, BWV 194, 194/6 and /12 • Dem Gerechten muß das Licht, BWV 195, 195/6 • Gott ist unsre Zuversicht, BWV 197, 197/5 and /10 • Ehre sei Gott in der Höhe, BWV 197a, 197a/7 (≈#BWV 398, 398) Spurious chorale harmonisations in Bach's autographs: BWV Liebster Gott, wenn werd ich sterben? BWV 8, 8/6 • Wer weiß, wie nahe mir mein Ende? BWV 27, 27/6 (=#BWV Anh. 170, Anh. 170) • Gott fähret auf mit Jauchzen, BWV 43, 43/11 Chorale harmonisations from spurious or doubtful cantatas (or: cantata versions) in the Richter/Kalmus collection of 389 chorale harmonisations: No. 130: from a doubtful version of BWV 130 • No. 219: BWV 218/5 = Telemann-Werke-Verzeichnis, TWV 1:634/5: "Komm, Gott Schöpfer, Heiliger Geist", by Telemann • No. 387: BWV 219/5 = TWV 1:1328/5: "Wo Gott der Herr nicht bei uns hält", by TelemannIn motets
Chorale harmonisations appearing in Bach's motets: BWV Der Geist hilft unser Schwachheit auf, BWV 226, 226/2 • Jesu, meine Freude, BWV 227, 227/1=/11, /3 (SATB, SSATB) and /7 • Komm, Jesu, komm, BWV 229, 229/2In Passions
= In ''St Matthew Passion''
= Four-part chorales appearing in the ''St Matthew Passion'': BWV BWV 244, 244/3, /10, /15≈/17, /25, /32, /37, /40, /44, /46, /54 and /62 • BWV 244b, 244b/29= In ''St John Passion''
= Four-part chorales appearing in the ''St John Passion'': BWV BWV 245, 245/3, /5 (=#BWV 416, BWV 416), /11, /14, /15, /17, /22, /26, /28, /37 and /40= In ''St Mark Passion'' pasticcio
= For his own performances of the ''Jesus Christus ist um unsrer Missetat willen verwundet'' Passion Bach composed and/or reworked a few of its chorales: No. 9b: "So gehst du nun, mein Jesu" (BWV 500a) • No. 14: "O hilf Christe, Gottes Sohn" (BWV 1084) • No. 29: O Traurigkeit, o Herzeleid, BWV deest, "O Traurigkeit, o Herzeleid" (BWV deest)In oratorios
= ''Ascension Oratorio''
= Four-part chorale appearing in the ''Ascension Oratorio'': BWV Lobet Gott in seinen Reichen, BWV 11, 11/6= ''Christmas Oratorio''
= Four-part chorales in Bach's ''Christmas Oratorio'', BWV 248: Part Christmas Oratorio#Part I, I/5 and /9 • Christmas Oratorio#Part II, II/3, /8 and /14 • Christmas Oratorio#Part III, III/5, /10 and /12 • Christmas Oratorio#Part IV, IV/7 • Christmas Oratorio#Part V, V/4 and /11 • Christmas Oratorio#Part VI, VI/6 and /11In chorale collections
Somewhat less than 200 of Bach's chorale harmonisations only survived in early collections containing multiple, usually short, works.''Three Wedding Chorales'', BWV 250–252
186 four-part chorales in BGA Vol. 39, BWV 253–438
The Bach Gesellschaft published 185 four-part chorales in the 39th volume of its complete Bach-edition. The BWV 253–438 range, which, in its original collation, was based on the BGA publication does however contain 186 chorales. The difference is that BWV 279, (near-)identical to BWV 158/4, was not retained in the BGA set: * BGA No. 26 → "Christ lag in Todesbanden", BWV 278 * not in BGA Vol. 39: "Christ lag in Todesbanden", BWV 279 (≈BWV 158/4, in BGA Vol. 32) * BGA No. 27 → "Christ unser Herr zum Jordan kam", BWV 280In the 1725 ''Notebook for Anna Magdalena Bach''
Included in the Notebook for Anna Magdalena Bach#The 1725 notebook, second ''Notebook for Anna Magdalena Bach'' (started 1725): BWV 299: "Dir, dir, Jehova, will ich singen" (included as No. 39, in both a four-part chorale version and a voice and bass version) • BWV 397: "O Ewigkeit, du Donnerwort" (included as No. 42 in a voice and bass version = BWV 513)With a voice and bass variant in ''Schemellis Gesangbuch''
Two-part versions in ''Schemellis Gesangbuch'':Other four-part chorales in early manuscripts
Authenticated as Bach's after the first edition (1950) of the ''Bach-Werke-Verzeichnis'': BWV 1089: "Da Jesus an dem Kreuze stund" • BWV 1122: "Denket doch, ihr Menschenkinder" • BWV 1123: "Wo Gott zum Haus nicht gibt sein Gunst" • BWV 1124: "Ich ruf zu dir, Herr Jesu Christ" • BWV 1125: "O Gott, du frommer Gott" • BWV 1126: "Lobet Gott, unsern Herren" • BWV deest: "Liebster Gott, wenn werd ich sterben"See also
* List of compositions by Johann Sebastian Bach * List of Bach cantatas (BWV 1–231) * List of songs and arias by Johann Sebastian Bach (BWV 439–518)References
Sources
* * Preface in English and German. * * * * * Johann Theodor MosewiusFurther reading
* *External links