Bach, Family, Other Composers at Lent Season

William L. Hoffman wrote (March 9, 2024):
The Lenten Season of five Sundays in Leipzig during Bach's tenure (1723-1750), as well as the last four Sundays in Advent, were closed periods (tempus clausum) in the church year (Wikipedia), although many other German Lutheran communities observed them in a full church year of some 72 Sundays and feast days (BCW), .Always seeking opportunities to expand his Lutheran calling of a "well-regulated church music to the glory of God," Bach as he did at Advent (BCW), often exploited his existing materials for new compositions through the processes of transcription, transformation, or parody (new text underlay), or as he did at Advent, or repurposed the music for a different service or activity beyond his usual 60 annual church year cantatas.

Lenten Season: 40 Days, Six Sundays

This Lenten period of 40 days (Quadragesima) observes Jesus Christ in the desert wilderness experiencing fasting and the temptation of Satan in the synoptic Gospels of Mark, Matthew, and Luke (see Wikipedia), prior to beginning his three-year public ministry at the mid-point of the six Sundays in Lent. The Lent period entails Ash Wednesday beginning prayer, fasting, and sacrifice, then the five Sundays in Lent with Latin incipit (Invokavit, Reminiscere, Oculi, Laetare, and Judika). Passion tide is the last two weeks in Lent, know as Passiontide (Wikipedia) from the week beginning the Fifth Sunday (Judika), also known as Passion Sunday, followed by Palm Sunday and Holy Week (Wikipedia,) ending with the three-day Easter Tridium (Maundy Thursday [Last Supper], Good Friday [Crucifixion], and Holy Saturday). Although figural music was banned from the Lenten Sunday services in Leipzig (no weddings were permitted), a rich tapestry was found in the designated Lenten Hymns and Passion chorales for all four Lenten Sundays (see BCW). Most significant is Sebald Heyden''s 1530 23-stanza Passion hymn, "O Mensch, bewein dein Sünde groß" (O man, bewail thy sins so great, BCW), settings of the four evangelists in a harmony of the 14 Stations of the Cross (Wikipedia). Each of the five Lenten Sundays has specific meaning based on its Latin incipit, as well as its designated Introit Psalm and the Hymn of the Day. Holy Week begins with the sixth and final Sunday, Palm Sunday with designated motets and chorales for that day as well as Holy Week (BCW).

Marian Annunciation Feast Cantatas

In addition, the Marian Feast of the Annunciation ("Mariä Verkündigung") on March 25 was a major observance and Bach took advantage of various opportunities to present his own music, BWV 1135=Anh. 199, "Siehe, eine Jungfrau ist schwanger" (Lo now, there a virgin is pregnant, trans. Z. Philip Ambrose; Annunciation Cantatas BWV 182 and Anh. 199: Intro., BCW: scroll down to "Lost Cantata BWV Anh. 199). Bach's performance calendar for March 25 also shows the collision date when Palm Sunday also fell on the same date as the Annunciation Feast (1714, 1725, 1736, enabling Bach to present double bills (BCW) with Weimar Cantata 182, "Himmelskönig, sei willkommen" (King of heaven, thou art welcome, trans. Ambrose), and Cantata 1, "Wie schön leuchtet der Morgenstern" (How beauteous beams the morning star, trans. Ambrose). For the Marian feast, Bach also presented the cantatas of four colleagues: 1725, Johann Ludwig Bach, "Ich habe meinen Konig eingesetzt" (I have installed my king, Google Trans.); 1732, Johann Friedrich Fasch, "Gottes und Marien Kind" (God's and Mary's child, Google), Gottfried Heinrich Stözel, "Ich habe dich zu Lichte der Heiden gemacht" (I have made you a light to the Gentiles, Google), and no date, Telemann, BWV Anh 156, "Herr Christ der einge Gottessohn" (Lord Christ, the only Son of God, Google; TVWV 1:732 (not known if performed by J. S. Bach).

Bach Three Lent Cantatas

At least three Bach cantatas are available for Sundays in Lent: two for Oculi (Third Sunday, BCW, BCW), 03/24/1715, Weimar, BWV 54, "Widerstehe doch der Sünde" (Stand Steadfast against Transgression, trans. Ambrose; BCW) and/or BWV 80.1(a), "Alles, was von Gott geboren"¹ (All that which of God is fathered, Ambrose trans.; BCW); and BWV 209a, "Böse Welt, schmäh immerhin" (Bad world, disgrace after all, Google Trans.), based on BWV 209 arranged by Gustav Adolf Theill, published in 1983, for Judica (5th Sunday) (WorldCat Libraries).

Bach Family: Cantatas, Laments

Two Bach family members associated with Sebastian produced proto-cantatas for Lent: Johann Michael Bach (1648-1694, Wikipedia), "Liebster Jesu, hör mein Flehen"² (Dearest Jesus, hear my plea, Google trans.; ABA II:6, BDW Bach Digital, EDM 1,2) for Reminiscere and Johann Christoph Bach (1642-1703, BCW), two "Lamentatio": "Ach, dass ich Wassers genug hatte" (Oh, that I had enough water, Google trans.; YouTube, CPDL) and "Wie bist du denn, o Gott, in Zorn auf michent brannt" (How then, O God, are you burning with anger against me?, Google trans.; YouTube, CPDL). Sebastian produced three versions of the Francesco Bartolomeo Cont (1681-1732, BCW) Lamento Cantata "Languet anima mea."³

Ash Wednesday, Day of Prayer

Lent season begins with Ash Wednesday, a holy day of prayer (Wikipedia. There are no motets or chorales listed for this day in Bach's Leipzig and no music that he provided. The most appropriate work is Jubilate Cantata BWV 12, "Weinen, Klagen, Sorgen, Zagen" (Weeping, wailing, grieving, fearing, trans. Ambrose), see YouTube, BCW; BWV 12/2 is a contrafaction of the Crucifuxus in the B-Minor Mass (YouTube). Today''s 3-year Revised Common Lectionary lists other cantatas appropriate for Ash Wednesday, 14 Feb. 2020, with the Year B (Gospel of Mark), readings Lectionary Library), preferred is Trinity 3 Penitential Psalm chorale Cantata 135, "Ach Herr, mich armen Sünder" (Ah Lord, me a poor sinner, Ambrose trans.; BCW), alternate Sexagesimae solo Cantata 181, "Leichtgesinnte Flattergeister" (Insincere and fickle spirits, Ambrose trans; BCW). YC (Gospel of Luke, 5 March 2025, readings Lectionary Library), is solo dialogue for the 1st Sunday after Epiphany Cantata 32, "Liebster Jesu, mein Verlangen" (Dearest Jesus, my desiring, Ambrose trans.; BCW), alternate Trinity 8 chorus Cantata 136, "Erforsche mich, Gott, und erfahre mein Herz" (Examine me, God, and discover my heart, Ps 139:23, Ambrose trans.; BCW). Year A (Gospel of Matthew, 18 February 2026, readings Lectionary Library), Trinity 11 solo Cantata 199.3, "Mein Herze schwimmt im Blut" (My heart doth swim in blood, Ambrise trans.; BCW), alternate Trinity 24 Death & Dying chorale Cantata 26, "Ach wie flüchtig, ach wie nichtig" (Ah, how fleeting, ah, how empty, Ambrose trans.; BCW).

For the five designated Lenten Sundays, Bach's Neu Leipziger Gesangbuch (NLGB) of 1682 includes chorales for the Lenten services and Good Friday vespers Bach presented in Leipzig, NLGB Nos. 61-88, Wikipedia: 122-272). The NKGB lists for Invocavit, "Vater unser im Himmelreich" (Lord's Prayer); for Reminiscere and Oculi, "Ich ruf zu dir, Herr Jesu Christ," "Wenn wir in höchsten Nöten sein,” "Gott der Vater wohn uns bei," "Erbarm dich mein, o Herre Gott," and "Ein feste Burg ist unser Gott"; for Laeteri and Judica, "Herr Jesu Christ, wahr Mensch und Gott," "Herr Jesu Christ, meins Lebens Licht," and "In dich hab ich gehoffet Herr." German composers with cantatas for Lent involved music consistently presented at the Gotha Court (Christian Friedrich Witt, Gottfried Heinrich Stölzel, Wolfgang Carl Briegel, and Georg Benda), as well as Georg Philipp Telemann in Frankfurt and Hamburg and Christoph Graupner in Darmstadt. In Weimar, it is assumed that Kapellmeister Johann Samuel Drese and his son, Johann Wilhelm, alternated with Bach in the presentation of the Sunday cantatas each month between 1714 and 1717, with Bach as court organist presenting chorale preludes. Lenten cantatas of Bach's contemporaries Georg Philipp Telemann, Christoph Graupner and Gottfried Heinrich Stölzel were performed during Lent and Bach in 1735-36 presented a Stölzel cycle which included works for Lent that Bach may have presented in the progressive University Pauliner Kirche or the New Church (source: BCW: 2nd paragraph beginning "An important thread . . . .").

Invocavit or Quadregesima (lst Sunday in Lent)

The first 1st Sunday in Lent is known as Invocavit or Quadregesima Sunday (Wikipedia), the former for the Introit Psalm 91:15 (He shall call upon me, Bible Gateway) and the latter designating the 40th day of Lent (Wikipedia). Scores:Category:Pieces for the 1st Sunday in Lent (Invocavit), IMSLP. The readings in Bach's time were Epistle 2 Corinthians 6:1-10 (We then, as workers together with him, kjv Bible Gateway), and the Gospel, Matthew 4:1-11 (Then was Jesus led up of the Spirit into the wilderness, kjv Biblle Gateway), the former referring to both the catechumen and the believers engaged in the Lenten fast, and the latter to Jesus' temptation in the wilderness of 40 days, says Paul Zeller Strodach,⁴ while the Introit is "a song of trusting faith." The appropriate Hymn of the Day in the NLGB (No. 175) is Luther's Catechism chorale, "Vater unser im Himmelreich" (Lord's Prayer, Wikipedia, which Bach set as plain chorale, BWV 416 (BCW), and as chorale preludes BWV 636 (Baptism, Orgelbüchlein), BWV 682-3 (Catechism, Clavierübung III) and BWV 737 (miscellaneous chorales), further information, BCW: "“Vater unser im Himmelreich.” Other hymns for the 1st Sunday in Lent are "Ein feste Burg ist unser Gott," "Gott der Vater wohn uns bei," "Christe, der du bist Tag und Licht" and its Latin version, "Christe qui lux es et dies," and Hymns related to the Passion of Christ (e.g. pp. 122–177 in Vopelius' Neu Leipziger Gesangbuch. Cantatas for this Sunday include Georg Philipp Telemann: "Fleuch der Lüste Zauberauen," TWV 1:549 (Harmonischer Gottes-Dienst, Hamburg 1726); Christoph Graupner: see List of cantatas by Christoph Graupner#GWV 1120; and Gottfried Heinrich Stölzel: "Gelobet sei der Herr mein Hort (1738)."

In the current 3-year Revised Common Lectionary, John S. Sutterlund⁵ finds various timely Bach cantatas appropriate for the 1st Sunday in Lent (Invocavit/Quadregesimae): Year B (Gospel of Mark, 18 February 2024; readings, Lectionary Library); Trinity 8 chorale Cantata 178, "Wo Gott derr Herr nicht bei uns hält" (Where God the Lord stands with us not, based on Ps. 124, Ambrose trans.; BCW), alternate Reformation chorale Cantata 80.3, "Ein' feste Burg ist unser Got" (A mighty fortress is our God; BCW. Year C (Gospel of Luke), 9 March 2025; readings, Lectionary Library; Occuli solo Cantata 54, "Widerstehe doch der Sünde" (Stand steadfast against transgression, Ambrose; BCW), alternate Trinity 11 chorus Cantata 179, "Siehe zu, daß deine Gottesfurcht nicht Heuchelei sei" (Watch with care lest all thy piety hypocrisy be, and serve thy God not with feigning spirit!, Ambrose trans.; BCW); Year A (Gospel of Matthew, 22 February 2026; readings, Lectionary Library), New Year's chorale Cantata 41, "Jesu, nun sei gepreiset" (Jesus, be now exalted, Ambrose trans.; BCW), alternate Trinity 10 chorale Cantata 48, "Ich elender Mensch, wer wird mich erlösen" (A poor man am I; who will set me free, Rom. 7:24; BCW).

Remniscere (2nd Sunday in Lent)

The 2nd Sunday in Lent is called Reminiscere (Wiktionary, BCW), for "remembering," from the Introit Psalm 25:6, "Remember, O Lord, thy tender mercies and thy loving-kindnesses (kjv)," from Psalm 25, Ad te, Domine, levavi (O my God, I trust in thee, kjv Biblle Gateway. It is a reference to Misericordias Domini or the 2nd Sunday after Easter. It means the "Goodness (literally "tender mercies") of the Lord." It comes from the incipit of Psalm 89, "Your love, O Lord, for ever will I sing." The 2nd Sunday after Easter is also called "Good Shepherd Sunday," referring to its Gospel of John 10: 12-16, "I am the Good Shepherd" (Bible Gateway). The pulpit readings for Reminiscere in Bach's single lectionary were the E, 1 Thes. 4:1-7 (plea for Purity), urging the Christian "to walk and to please God, so ye would abound more and more," says Strodach (Ibid: 121). The Gospel is Matt. 15:21-28 (Jesus heals Canaanite woman's daughter. Her plea (Mat. 15:22b, "Have mercy on me, O God" Miserere mei, in German is the hymn "Erbarm dich mein, o Herre Gott," also found in Psalm 51, Bible Gateway, and Bach's contrafaction setting, "Tilge, Höchester, meine Sünden" (Cancel, Highest, my sins, UVM), BWV 1083 (BCW), composed in the 1740s. Other hymns for Reminiscere are: "Ich ruf zu dir, Herr Jesu Christ," "Wenn wir in höchsten Nöten sein," "Gott der Vater wohn uns bei," "Ein feste Burg ist unser Gott," "Christe, der du bist Tag und Licht" and its Latin version, "Christe qui lux es et dies," And Hymns related to the Passion of Christ. IMSLP, IMSLP. Cantatas for this Sunday include: Johann Michael Bach: "Liebster Jesu, hör mein Flehen, ABA II, 6 (BDW 08798)

Georg Philipp Telemann: "Der Reichtum macht allein beglückt, TWV 1:313 (Harmonischer Gottes-Dienst, Hamburg 1726); Christoph Graupner: see List of cantatas by Christoph Graupner#GWV 1121; Gottfried Heinrich Stölzel: "Ich danke dir Herr dass du zornig bist gewesen" (1738).

"Erbarm dich mein, o Herre Gott"

One the designated hymns for Reminiscere in the NLGB is the Erhard Hegenwald (16th c.) paraphrase setting of Penitential Psalm 51, "Erbarm dich mein, o Herre Gott, nach deiner großen Barmherzigkeit" (Have pity on me, O Lord God, according to thy great mercy). It was published in 1524 in the Erfurt Enchiridion, set to the Johann Walther? melody (Zahn 5851, IMSLP), as a five eight-line stanza Bar form liturgical Psalm hymn texts (Hymnoglypt). Hegenwald was a student at Wittenberg University and his hymn was known by Luther. The melody is reminiscent of "Es woll' uns Gott genädig sein" May God be gracious to us," the Luther/Matthias Greiter 1524 hymn, says Charles S. Terry.⁶ It is found in the NLGB as No. 256 (Psalm Hymn), also designated hymn for the Sundays in Trinity 3, 11, 14, and 22). It is listed in the Orgelbüchlein as No. 68 (Passiontide, Peintence), source Witt's Gotha Hymnal 1715, No. 258, but not set. It is found in Schmelli No. 70, Repentance Song. Besides the aria "Erbarme dich, mein Gott" in the St. Matthew Passion (YouTube), Bach set "Erbarm dich mein, o Herre Gott" as an early Miscellaneous chorale, BWV 721 in f-sharp minor (YouTube), authenticity questioned, says Peter Williams (Classical Archives), and a plain chorale, BWV 305 in e minor (BCW, YouTube). The Neumeister Collection includes a setting of Fredrich Wilhelm Zachow (Thomas 58), No. 76, eschatological hymn (YouTube, LV 18).

Oculi (3rd Sunday in Lent): Cantatas 54, 80a

In Bach's time, the 3rd Sunday in Lent, called Oculi (Wiktionary) from Introit Psalm 25:15, "Mine eyes are ever toward the Lord (kjv)" was a momentous time in the middle of Lent as Bach was able in Weimar to present two solo cantatas for this Sunday, BWV 54, "Widerstehe doch der Sünde" (Stand firm against sin), and BWV 80a, "Alles was von Gott geboren" (All that is born of God, 1 John 5:4), see BCW. Bach produced two intimate, striking church cantatas, BWV 54 a three-movement alto solo work with a two striking arias, and BWV 80a, a substantial four-voice work which includes a Bach chorale trope in the opening bass aria and closing with a plain chorale setting of the same Luther hymn, "A Mighty Fortress is our God," which was transformed into a hybrid chorale Cantata by 1740. Both works did not become part of Bach's church-year cantata cycles but were available for copying in 1761 by the Leipzig published Breitkopf in the fall catalogue. The Oculi Sunday readings show Bach's close attention to Luther's sentiments, source is the Common Service Book with Hymnal (United Lutheran Church in America, Philadelphia 1917: 73f). "Oculi" means "look." It is alluded to in the initial Introit, "Mine eyes are ever toward the Lord." The name of the 3rd Sunday in Lent, Oculi, comes from the first word of the Introit Psalm 25:16, "Mine eyes are ever toward the Lord, kjv" Psalm 25, Ad te, Dominum, levavi (Unto thee, O Lord, do I lift up my soul, Bible Gateway). The 3rd Sunday in Lent is variously named as Dies scrutinii (day of scrutiny), Dominica abrennunciationis (Lord's day of the renunciation), and Dom. exorcisimi (Lord's day of the exorcism). The succeeding Collect asks God to "look upon the hearty desires of the humble servants, and . . . be our defence against our enemies." The Epistle, "Living in the Light," Ephesians 5:1-9, warns in verse 6: "Let no man deceive you with vain words." The Gradual affirms that "When mine enemies are turned back: they shall fall and perish at Thy presence." The Gospel, "Jesus and Beelzebub," Luke 11:14-28, is Christ's explanation of casting out devils. The most salient Gospel verses are Luke 20-22: "But if I with the finger (Word) of God cast out devils, no doubt the Kingdom of God is come upon you. When a strong man armed keepeth his palace, his good are in peace: but when a stronger than he shall come upon him, he taketh from him all his armour wherein he trusted, and divideth his spoils."

There is no closing chorale in Lehms' text for Cantata 54 in E-flat Major. A possibly is plain chorale BWV 353 in g minor (BCW), says Martin Petzoldt,⁷ found in the Dresdener Gesangbuch 1725 , No. 287, Johann Rist 1662 melody (Zahn 6804), "Jesu, der du meine Seele" (Jesus, it is by you that my soul, BCW); Bar Form text stanza 16, "Jesum nur will ich lieb haben" (Only Jesus I shall hold dear); Martin Jahn 1661 "Jesu meiner Seele Wonne" (Jesus, delight of my so), BCW. The same stanza to the Johann Schoop 1642 melody, "Werde munter mein Gemüte" (Be alert , my soul), closes chorus Cantata BWV 147, "Herz und Mund und Tat und Leben" (Heart and mouth and deed and life), Feast of the Visitation 1723. The Bach Stiftung adds a closing four-part chorale (Mvt. No. 4) not in the Lehms Cantata 54 libretto: Martin Jahns’ text, “Jesum nur will ich liebhaben” (Only Jesus I shall hold dear), BWV 360 in B-flat Major (Bachipedia, Bach Chorales). Appropriate hymns for Occuli include: "Ich ruf zu dir, Herr Jesu Christ," "Wenn wir in höchsten Nöten sein,""Gott der Vater wohn uns bei," "Erbarm dich mein, o Herre Gott," "Ein feste Burg ist unser Gott," "Christe, der du bist Tag und Licht" and its Latin version, "Chriqui lux es et dies," and Hymns related to the Passion of Christ. Scores:Category:Pieces for the 3rd Sunday in Lent (Oculi), IMSLP. Cantatas for this Sunday include: Georg Philipp Telemann: "Wandelt in der Liebe, TWV 1:1498 (Harmonischer Gottes-Dienst, Hamburg 1726); Christoph Graupner: see List of cantatas by Christoph Graupner#GWV 1121; Johann Sebastian Bach (see also Church cantata (Bach) § Oculi): "Widerstehe doch der Sünde," BWV 54 (4 March 1714?), "Alles, was von Gott geboren," BWV 80a (24 March 1715; music lost); and Gottfried Heinrich Stölzel: "Dazu ist erschienen der Sohn Gottes (1738)."

Oculi 3-Year Revised Common Lectionary

Today's three-year Revised Common Lectionary uses John's Gospel in Lent, which is shared today and in Bach's time for the 3rd Sunday in Lent: Year B (Mark's Gospel, 3 March 2024; readings, Lectionary), Trinity 10 chorus Cantata 102, "Herr, deine Augen sehen nach dem Glauben!" (Lord, thine eyes look after true believing!, Jer. 5:3, Ambrose trans.; BCW), alternate Trinity 25 solo Cantata 90, "Es reißet euch ein schrecklich Ende" (To ruin you an awful ending, Ambrose trans.; BCW). Year C (Luke's Gospel, 23 March 2026; readings, Lectionary), 1st Sunday after Epiphany chorale Cantata 124, "Meinen Jesum laß ich nicht" (My dear Jesus I'll not leave, Ambrose trans.; BCW), alternate Trinity 10 chorus Cantata 46, "Schauet doch und sehet, ob irgendein Schmerz sei" (Look indeed and see then if there be a grief, Lam. 1:12; BCW). Year A (Matthew's Gospel, 8 March 2026; readings, Lectionary), Trinity 6 solo Cantata 170, "Vergnügte Ruh', beliebte Seelenlust" (Contented rest, belove'd inner joy, Ambrose trans.; BCW), alternate Trinity 20 solo Cantata 162.2, "Ach! ich sehe, itzt, da ich zur Hochzeit gehe" (Ah! I see now, As I go to join the marriage, Ambrose trans.; BCW).

ENDNOTES

¹ "Alles, was von Gott geboren": score, Foreword, Carus Media; discussion, BCW; recording, YouTube; liner notes, BCW [scan & paste in browser]).
² "Liebster Jesu, hör mein Flehen": scores, Carus Verlag, WorldCat Libraies); discussions, CPDL, BCW, BCW); recording, YouTube, BCW: V-2.
³ "Languet anima mea" (My soul faints, Google trans.): details, BCW; score & Preface, Carus Media; recording, YouTube; BWV3 listing of original score in Bach's musical library (Notenbibliothek), Supplement 2: 650.
⁴ Paul Zeller Strodach, The Church Year: Studies in the Introits, Collects, Epistles, and Gospels (Philadelphia PA: United Lutheran Publication House, 1924: 107ff).
⁵ John S. Sutterlund, Bach Through the Year: The Church Music of Johann Sebastian Bach and the Revised Common Lectionary (Minneapolis MN: Lutheran University Press, 2013: 54f), Amazon.com.
⁶ Charles S. Terry, Bach’s Chorals, vol. 3 The Hymns and Hymn Melodies of the Organ Works, Cambridge University Press, 1921, Online Library of Liberty, 157).
⁷ Petzoldt, Bach Kommentar: Theologisch Musikwissenschaftlicke Kommentierung der Geistlichen Vokalwerke Johann Sebastan Bachs; Vol. 2, Die Geistlichen Kantaten vom 1. Advent bis zum Trinitatisfest; Internationale Bachakademie Stuttgart (Kassel: Bärenreiter, 2007: 640, 645).

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To Come: Last three Sundays in Lent (Laetare, Judika, Palm Sunday) and Holy Week with the Passion.