 |
|
Speculations Regarding the Original Liturgical Occasions of the Individual BWV 253–438 Chorales
Jump to: St. Mark Passion Speculations Picander–Jahrgang Speculations Other Speculations
Since the vast majority of the individual BWV 253–438 chorales have survived only by way of secondary chorale collections rather than original autograph manuscripts, we have no way of knowing the origins these settings. We are only left to speculate as to how many came from cantatas or passions that are now lost, and whether some may have come from a collection of individual settings perhaps created and used for pedagogical purposes. However, speculations regarding the origins of these chorales can be informed by a number of considerations such as the following:
1) Does a setting feature a text or tune that has strong associations with particular liturgical occasions, and can these associations be used to fill known gaps in Bach’s Leipzig output?
The chorale "Das alte Jahr vergangen ist" has an obvious association with New Year’s Day, for example.
2) Is there documentary evidence suggesting that a chorale’s text or tune was used in a particular piece?
This is the case with the Picander–Jahrgang (the Leipzig cantata cycle from 1728/1729 for which we have a complete published libretto by Christian Friedrich Henrici, known as "Picander").
3) Is the setting found in the Dietel collection?
Evidence supports the idea that Ludwig Dietel copied his manuscript (around 1735) directly from Bach’s autograph scores, which suggests that all Dietel chorales from among the BWV 253–438 chorales came from large choral works that are now lost.
4) Can a chorale’s appearance in an early collection that is arranged by the liturgical calendar be used to inform speculations?
Portions of the Dietel Collection as well as the Levy–Mendelssohn Collection (NBA Source D) are so organized.
Many of the below speculations are made by Friedrich Smend and Klaus Häfner, which are cited in the Neue Bach Ausgabe commentary volumes devoted to the chorales (NBA III/2.1 KB, III/2.2 KB). Any speculations not attributed to others are made by Luke Dahn (LD). The specific bases for speculations by Smend and Häfner are generally not provided in the NBA, but additional comments regarding bases are often found in the "Notes" section of each chorale’s individual page.
St. Mark Passion (BWV 247) Speculations
While the complete libretto for the St. Mark Passion survives being written and published by Picander (pen name of Christian Friedrich Henrici) in 1731, the music is lost. However, a significant portion of the passion was parodied from earlier works such as the BWV 198 funeral cantata, and therefore gives some indication of musical content. Christoph Wolff has even suggested that "there is reason to believe that the libretto itself was created with the reuse of extant material in mind." (Learned Musician, p.296). This has enabled the creation of several reconstructions, perhaps most notably by Diethard Hellmann and Ton Koopman, though such reconstructions require adapting parodied pieces, composing of entirely new recitatives, in addition to requiring much speculation regarding chorale choice. Most of the speculations regarding possible Mark Passion chorales are made by Smend.
Movement 3
BWV 256 (DX) (could be Picander 6) (Häfner suggests Picander 6, Smend BWV 247.3) (See NBA III/2.2 KB, p.156–157.)
BWV 257 (D61) (could also be BWV 247.26, Picander 6) (Häfner, Smend: this setting more likely served as movement 26) (NBA III/2.2 KB, p.288 and III/2.1 KB, p.64)
BWV 258 (DX) (Smend) (See NBA III/2.2 KB, p.311.)
Movement 7
BWV 393 (D57) (Smend) (See NBA III/2.1 KB, p.62 or III/2.2 KB, p.284)
Movement 10
BWV 428 (DX) (Smend) (See NBA III/2.2 KB, p.304)
Movement 11
BWV 397 (D23) (Smend) (could also be Picander 53) (See NBA III/2.1 KB, p.50)
Movement 13
BWV 430 (D97) (Smend) (See NBA III/2.1 KB, p.78, or III/2.2 KB, p.320)
Movement 15
BWV 377 (DX) (Smend) (See NBA III/2.2 KB, p.165)
Movement 23
BWV 270 (D62) (Smend) (could also be 247.28) (See NBA III/2.1 KB, p.64 or III/2.2 KB, p.289) or
BWV 271 (D143) (Smend) (could also be 247.28, 247.30) (See NBA III/2.2 KB, p.329, also III/2.1 KB, p.99)
Movement 26
BWV 257 (D61) (Smend) (could also be 247.3, Picander 6) (See NBA III/2.2 KB, p.288 and III/2.1 KB, p.64)
Movement 28
BWV 270 (D62) (Smend) (could also be 247.23) (See NBA III/2.1 KB, p.64 or III/2.2 KB, p.289) or
BWV 271 (D143) (Smend) (could also be 247.23, 247.30) (See NBA III/2.2 KB, p.329, also III/2.1 KB, p.99)
Movement 30
BWV 271 (D143) (Smend) (could also be 247.28, 247.30) (See NBA III/2.2 KB, p.329, also III/2.1 KB, p.99)
Movement 32
BWV 331 (D63) (Smend) (See NBA III/2.1 KB, p.65 or III/2.2 KB, p.289)
Movement 38
BWV 302 (D64) (Smend) (See NBA III/2.1 KB, p.65 or III/2.2 KB, pp.150–151)
Movement 40
BWV 369 (D64) (Smend) (See NBA III/2.2 KB, p.211)
Movement 44
BWV 404 (DX) (Smend) (See NBA III/2.2 KB, p.176)
Picander–Jahrgang
In 1728, Picander (pen name of Christian Friedrich Henrici) published the libretti for a complete cantata cycle in a volume entitled Cantaten auf die Sonn– und Fest–Tage durch das gantze Jahr. In the preface, Picander penned the following:
To the glory of God, and actuated by the requests of many good friends, and by much devotion on my part, I resolved to compose the present cantatas. I undertook the design more readily, because I flatter myself that the lack of poetic charm may be compensated for by the loveliness of the music of our incomparable Capellmeister Bach, and that these songs may be sung in the main churches of our pious Leipzig. (quoted in Spitta volume 2, p.345; and Wolff, Learned Musician, p.285)
The Picander cycle, then, represents Bach’s Jahrgang IV from the 1728/29 liturgical year. However, fewer than 10 extant J.S. Bach cantatas use libretti from the Picander publication, and whether Bach actually composed a complete Picander cycle is unknown. Still, Picander’s libretti included specified texts to be used for each cantata’s closing chorale making it possible to speculate as to which of the individual BWV 253–438 chorales may have originated from lost Picander cantatas. (It should be remembered here that these individual chorales have survived in collections that did not preserve any original texts. So such speculative research involves matching text with tune, thus widening the possibility for error. The matching game is, unfortunately, not so straightforward.)
The Häfner speculations below are mentioned in the NBA commentary volumes without specific bases being provided. Presumably, Häfner relied heavily on the matching of Picander chorale texts with Bach’s chorales. Extant Picander cantatas are also included in the list below.
Picander 1: First Day of Advent (28 November 1728) Machet die Thore weit
BWV 318 (DX) (Wolff, Häfner) (See NBA III/2.2 KB, p.149; Wolff, Learned Musician, p.495, footnote 76)
Picander 5: Christmas Day (25 December 1728) Ehre sei Gott in der Höhe
Cantata 197a Ehre sei Gott in der Höhe (BCW)
Picander 6: 2nd Day of Christmas (26 December 1728) Kehret wieder, kommt zurücke
BWV 257 (D61) (could be BWV 247.3, 247.26) (Häfner, Smend: this setting more likely served as BWV 247.26) (See NBA III/2.2 KB, p.149; Wolff, Learned Musician, p.495, footnote 76)
BWV 256 (DX) (could be BWV 247.3) (Häfner suggests Picander 6, Smend BWV 247.3) (See NBA III/2.2 KB, p.156–157.)
Picander 9: New Year’s Day (1 January 1729) Gott, wie dein Nahme, so ist auch dein Ruhm
Cantata 171(?) Gott, wie dein Nahme, so ist auch dein Ruhm (BCW)
BWV 362 (D7) (LD) Speculation based on strong association of tune with New Year̵s Day, and a correspondence with Picander’s specified chorale text. (BWV 171.6 is a setting of Picander’s specified text.)
Picander 10: Sunday after New Year (2 January 1729) Steh auf, mein Herz
BWV 358 (D115) (Häfner) (could also be Picander 32, 45, 46) (See NBA III/2.1 KB, p.87, or III/2.2 KB, p.62) [This setting’s position in the Dietel Collection lends support for Picander 46 among the four possibilities Häfner provides. See page devoted to BWV 358 for more. —LD]
Picander 11: Epiphany (6 January 1729) Dieses ist der Tag
BWV 375 (D58) (Häfner) (could also be Picander 27) (See NBA III/2.2 KB, p.284, or III/2.1 KB, p.62)
BWV 376 (DX) (Häfner) (could also be Picander 27) (See NBA III/2.2 KB, p.315)
Picander 12: 1st Sunday after Epiphany (9 January 1729) Ich bin betrübt
BWV 380 (D86) (Häfner) (could also be Picander 31) (See NBA III/2.1 KB, p.74 or III/2.2 KB, pp.295–296) [The setting’s position in the Dietel Collection, portions of which are organized loosely according to the liturgical calendar, suggests an alternative and would place BWV 380 somewhere around Trinity +15. See BWV 380 page for more. —LD]
Picander 13: 2nd Sunday after Epiphany (16 January 1729) Ich hab in mir ein fröhlich Herze
BWV 434 (D47) (Häfner) (could also be Picander 13, 58) (See NBA III/2.2 KB, p.222)
Picander 14: 3rd Sunday after Epiphany (23 January 1729) Ich steh mit einem Fuß im Grabe
Cantata 156 Ich steh mit einem Fuß im Grabe (BCW)
Picander 15: 4th Sunday after Epiphany (30 January 1729) Wie bist du doch in mir
BWV 334 (D54) (Häfner) (See NBA III/2.1 KB, p.61.)
Picander 16: Purification of Mary (2 February 1729) Herr, nun lässest du deinen Diener in Friede fahren
BWV 382 (D51) (Häfner) (See NBA III/2.2 KB, p.169.)
Picander 17: 5th Sunday after Epiphany (6 February 1729) Erwache, du verschlaffnes Herze
BWV 311 (DX) (Häfner) (See NBA III/2.2 KB, p.148; and regarding BWV 312, see III/2.1 KB, p.79 or III/2.2, p.320)
BWV 312 (D99) (Häfner) (See NBA III/2.1 KB, p.79 or III/2.2, p.320)
Picander 18: 6th Sunday after Epiphany Valet will ich dir geben
BWV 262 (DX) (could also be Picander 33, 70) (Häfner) (See NBA III/2.2 KB, p.226.)
Picander 19: Septuagesima (13 February 1729) Ich bin vergnügt mit meinem Stande
BWV 434 (D47) (Häfner) (See NBA III/2.2 KB, p.222)
Picander 20: Sexagesima (20 February 1729) Sei getreu biß in den Tod
BWV 348 (D49) (Häfner) (See NBA III/2.1 KB, p.59)
Picander 21: Estomihi (27 February 1729) Sehet! Wir gehen hinauf, gen Jerusalem
Cantata 159 Sehet! Wir gehn hinauf, gen Jerusalem (BCW)
Picander 27: Annunciation of Mary (25 March 1729) Der Herr ist mit mir, darum fürchte ich mich nicht
BWV 375 (D58) (Häfner) (could also be Picander 11) (See NBA III/2.2 KB, p.284, or III/2.1 KB, p.62)
BWV 376 (DX) (Häfner) (could also be Picander 11) (See NBA III/2.2 KB, p.315)
Picander 28: Easter (17 April 1729) Es hat überwunden der Löwe, der Held
BWV 277 (DX) (Häfner)
BWV 278 (D133) (Häfner)
BWV 279 (D24) (Häfner) (See NBA III/2.1 KB, pp.95–96 under Dietel 133; see also III/2.1 KB, p.50 or III/2.2 KB, p.276)
Picander 29: Easter Monday (18 April 1729) Ich bin ein Pilgrim auf der Welt
BWV 342 (DX) (Häfner & Dürr) (See NBA III/2.2 KB, p.186) [This suggestion is further supported by the setting’s position in the Levy–Mendelssohn Collection, portions of which are organized by liturgical occasion. See the page for BWV 342 for more. —LD]
Picander 30: Easter Tuesday (19 April 1729) Ich lebe, mein Herze, zu deinem Ergötzen
Cantata 145 Ich lebe, mein Herze, zu deinem Ergötzen (BCW)
Picander 31: Quasimodogeniti (1st Sunday after Easter) (24 April 1729) Welt, behalte du das deine
BWV 380 (D86) (Häfner) (could also be Picander 12) (See NBA III/2.1 KB, p.74 or III/2.2 KB, pp.295–296) [The setting’s position in the Dietel Collection, portions of which are organized loosely according to the liturgical calendar, suggests an alternative and would place BWV 380 somewhere around Trinity +15. See BWV 380 page for more. —LD]
Picander 32: Misericordias Domini (1 May 1729) Ich kan mich besser nicht versorgen
BWV 358 (D115) (Häfner) (could also be Picander 10, 45, 46) (See NBA III/2.1 KB, p.87, or III/2.2 KB, p.62) [This setting’s position in the Dietel Collection lends support for Picander 46 among the four possibilities Häfner provides. See page devoted to BWV 358 for more. —LD]
Picander 33: Jubilate (8 May 1729) Fasse dich, betrübter Sinn
BWV 262 (DX) (could also be Picander 18, 70) (Häfner) (See NBA III/2.2 KB, p.226.)
Picander 36: Ascension (26 May 1729) Alles, alles Himmelswerts
BWV 415 (DX) (Häfner) (See NBA III/2.2 KB, p.152–153.)
Picander 39: Pentecost 2 (6 June 1729) Ich liebe den H‶chsten von ganzem Gemüte
Cantata 174 Ich liebe den Höchsten von ganzem Gemüte (BCW)
Picander 40: Pentecost 3 (7 June 1729) Ich klopf an deine Gnadentür
BWV 301 (DX) (could also be Picander 59) (Häfner) (See NBA III/2.2 KB, p.217.)
Picander 42: Trinity +1 (19 June 1729) Welt, dein Purpur stinckt mich an
BWV 422 (D117) (Häfner) (could also be Picander 63) (See NBA III/2.1 KB, p.88 or III/2.2 KB, pp.323–324.) [Between Picander 42 and Picander 63, the setting’s placement in the Dietel Collection would support to Picander 42. See the page devoted to BWV 422 for more. —LD]
Picander 44: Trinity +3 (3 June 1729) Wohin, mein Herz
BWV 379 (DX) (Häfner) (See NBA III/2.2 KB, p.224.)
Picander 45: Trinity +4 (10 July 1729) Laß sie spotten, laß sie lachen
BWV 358 (D115) (Häfner) (could also be Picander 10, 32, 46) (See NBA III/2.1 KB, p.87 or III/2.2 KB, p.323.) [This setting’s position in the Dietel Collection lends support for Picander 46 among the four possibilities Häfner provides. See page devoted to BWV 358 for more. —LD]
Picander 46: Feast of John the Baptist (24 June 1728) Gelobet sei der Herr
BWV 358 (D115) (Häfner) (could also be Picander 10, 32, 45) (See NBA III/2.1 KB, p.87 or III/2.2 KB, p.323.) [This setting’s position in the Dietel Collection lends support for Picander 46 among the four possibilities Häfner provides. See page devoted to BWV 358 for more. —LD]
Picander 47: Trinity +5 (27 June 1728) In allen meinen Taten
BWV 367 (DX) (Häfner) (See NBA III/2.2 KB p.218.)
Picander 48: Purification of Mary (2 July 1728) Meine Seele erhebt den Herren
BWV 386 (D149) (Häfner) (See NBA III/2.1 KB, p.101 or III/2.2 KB, p.157.)
Picander 50: Trinity +7 (11 July 1728) Ach Gott, ich bin von dir
BWV 420 (DX) (Häfner) (could also be from funeral cantata Anh. 209) (See NBA III/2.2 KB, p.221.)
Picander 52: Trinity +9 (25 July 1728) Mein Jesu, was meine, ist alles das Deine
BWV 399 (DX) (Häfner) (could also be Picander 55, 57) (See NBA III/2.2 KB p.301.)
Picander 53: Trinity +10 (1 August 1728) Laßt meine Thränen euch bewegen
BWV 397 (D23) (Häfner) (could also be BWV 247.11) (See NBA III/2.1 KB p.50.)
Picander 54: Trinity +11 (8 August 1728) Ich scheue mich
BWV 359 (DX) (Häfner)
BWV 360 (D104) (Häfner) (BWV 359: NBA III/2.2 KB, p.328; BWV 360: NBA III/2.1 KB, p.82 or III/2.2 KB, p.319.) [Arguably, the inclusion of BWV 360 in the Dietel collection and absence of BWV 359 from the same may lend slightly more support for the former. However, also worth noting is that the this portion of the Dietel collection falls roughly according to the liturgical calendar in such a way to suggest that BWV 360 may have been from a lost cantata for Cantate (4th Sunday after Easter) or thereabouts. See BWV 360 page for more. —LD]
Picander 55: Trinity +12 (15 August 1728) Ich bin wie einer, der nicht höret
BWV 399 (DX) (Häfner) (could also be Picander 52, 57) (See NBA III/2.2 KB p.301.)
Picander 56: Trinity +13 (22 August 1728) Können meine nasse Wangen
BWV 335 (D83) (Häfner) (See NBA III/2.1 KB, p.73 or III/2.2 KB, pp.264 & 293.) [Häfner’s speculation is supported further by the setting’s placement in the Dietel Collection. See page devoted to BWV 335 for more. —LD]
Picander 57: Trinity +14 (29 August 1728) Schöpfer aller Dinge
BWV 399 (DX) (Häfner) (could also be Picander 52, 55) (See NBA III/2.2 KB p.301.)
Picander 58: Trinity +15 (5 September 1728) Arm, und dennoch fröhlich sein
BWV 434 (D47) (Häfner) (could also be Picander 13, 19) (See NBA III/2.2 KB, p.222.)
Picander 59: Trinity +16 (12 September 1728) Schließet euch, ihr müden Augen
BWV 301 (DX) (could also be Picander 40) (Häfner) (See NBA III/2.2 KB, p.217.)
Picander 61: Trinity +18 Valet will ich dir geben
BWV 385 (D109) (Häfner: "highly probable") (See NBA III/2.2 KB, p.222.) [However, this setting’s placement in the Dietel suggests an alternative, that the setting may fall around Whit Sunday, Monday, or Tuesday. —LD]
Picander 62: Feast for Michael (29 September 1728 or 1729) Man singet mit Freuden vom Sieg
Cantata 149 Man singet mit Freuden vom Sieg (BCW)
Picander 63: Trinity +19 (3 October 1728 or 23 October 1729) Gott, du Richter der Gedanken
BWV 422 (D117) (Häfner) (could also be Picander 42) (See NBA III/2.1 KB, p.88 or III/2.2 KB, pp.323–324.) [Between Picander 42 and Picander 63, the setting’s placement in the Dietel Collection would support to Picander 42. See the page devoted to BWV 422 for more. —LD]
Picander 65: Trinity +21 (17 October 1728) Ich habe meine Zuversicht
Cantata 188 Ich habe meine Zuversicht (BCW)
Picander 66: Trinity +22 (24 October 1728) Geduld, mein Gott, Geduld
BWV 255 (DX) (Häfner) (See NBA III/2.2 KB, p.162.)
Picander 70: Trinity +26 (21 November 1728) Kömmt denn nicht mein Jesus bald
BWV 262 (DX) (could also be Picander 18, 33) (Häfner) (See NBA III/2.2 KB, p.226.)
Other Speculations
Below are other speculations regarding the liturgical occasions of chorales surviving from secondary sources. Settings already mentioned above in regard to the Mark Passion and the Picander Jahrgang are not repeated below unless a speculation differs from its assignment above.
Christmastime
BWV 314 (D69) This setting possibly came from a lost cantata from the Christmas season, based on the strong association of the tune "Gelobet seist du, Jesu Christ" with Christmas. See BWV 314 page for further explanation. [—LD]
New Year’s Day
BWV 288 (D5) This setting possibly came from a lost cantata for New Year’s Day based on its appearance in the Dietel Collection and the specific liturgical association of the "Das alte Jahr vergangen ist" chorale tune. [—LD]
Oculi
BWV 303 (D3) Dürr believes it probable that this setting came from the lost cantata BWV 80a, the earlier Weimar version of BWV 80. (See NBA III/2.2 KB, p.270.)
Good Friday
BWV 394 (D141) This setting may have come from a lost work for Good Friday, based on the facts that Bach did use this tune three times in his extant Good Friday passions (Matthew and John) and that BWV 394 appears in the Dietel Collection among other Good Friday chorales — Dietel chorales 136, 138, 139, 140 and 142 are all from the Matthew and John passions. [—LD]
Misericordias Domini
BWV 260 (D2) This setting could possibly be from a cantata for Misericordias Domini, based on its appearance and position in the Dietel Collection and on the chorale tune’s association with this liturgical occasion. See the chorale’s page for more. [—LD]
Cantate (4th Sunday after Easter)
BWV 360 (D104) While Häfner suggests that this chorale possibly came from the Picander cantata for the 11th Sunday after Trinity, its position in the Dietel Collection would support its placement around Cantate. See page for BWV 360 for further explanation. [—LD]
Whit Sunday, Monday or Tuesday
BWV 385 (D109) Häfner states that it is "highly probable" that this setting is derived from the 18th Picander cantata from Trinity +18. However, the chorale’s position in the Dietel Collection suggests an alternative, that it may have come from a Whit season cantata. See the BWV 385 page for more. [—LD]
Trinity +4
BWV 1124 (D69) This setting may have come from a lost Trinity +4 cantata based on Bach’s consistent use of the chorale tune "Ich ruf zu dir, Herr Jesu Christ" for that liturgical day and on the setting’s specific placement in the Dietel Collection. See the page devoted to BWV 1124 for further explanation. [—LD]
Trinity +14
BWV 390 (D81) This setting may have come from a lost Trinity +14 cantata based on the setting’s position in the Dietel Collection and on the fact that Bach used the same tune for another Trinity +14 cantata. See BWV 390 page for more. [—LD]
Trinity +15
BWV 380 (D86) While Häfner suggests that this chorale possibly came either from the Picander 12th or 31st cantata, its position in the Dietel Collection would support its placement around the 15th Sunday after Trinity. See page devoted to BWV 380 for further explanation. [—LD]
Trinity +17
BWV 421 (D90) The position of this chorale in the Dietel Collection would suggest that it originated from a cantata around Trinity +17. Furthermore, another four–part setting of this tune (BWV 47.5) comes from a Trinity +17 cantata. See BWV 421 page for more. [—LD]
Trinity +19 through +25
BWV 389 (D39) This setting may have come from a cantata from somewhere near Trinity +19 to Trinity +25 based on its position in the Dietel Collection in a section that is arranged by liturgical calendar, though such an assertion cannot be held with much confidence. See page for BWV 389 for further explanation. [—LD]
Funeral Cantata for Ponickau (Anh. 209)
BWV 420 (DX) (Häfner) (could also be from Picander 50) (See NBA III/2.2 KB, p.221.)