Index to References to Bach Cantatas & Other Vocal Works
Bach Compendium
Work Group G: Secular Cantatas for Court, Nobility and Bourgeoisie |
Group Description |
Work Group G presents a chronological listing of works written for celebrations given by or in honor of members of the princely houses of Saxony and Anhalt, together with compositions for official celebrations of the University of Leipzig, the Thomas School, weddings, and other special occasions of various kinds.
According to the obituary (Dok III, no. 666, p. 86; Bach Reader, p. 221.), Bach wrote "many dramata and serenades, along with works for birthdays, name-days, and funerals ... as well as a few comical works for voice." When the estate was divided in 1750, it appears that all the materials associated with any given work of this sort were bequeathed to a single heir, in contrast to the procedure followed for the cycles of cantatas (→ Work Group A). This helps to explain the unusually high proportion of works for which no material has survived in any form. The missing works that can be documented provide only an inkling of the full extent of these losses. Nevertheless, the so-called secular cantatas that have survived reflect a broad spectrum of works, regarding both music and texts, ranging from comic dialogue ("Cantate burlesque"; → G31, G48) to serenade (e.g. → G4, G5, G9) and "Cantata" (→ G39, G40), German or Latin ode (→ G33, G34), German or Italian solo cab.tata (→ G41, G44, G45, G50, G51), and scenically conceived "Dramma per musica" with allegorical characters, a type of work that in form and content resembles an act of an opera (→ G18, G37, G46).
Most of the works. known to have been composed before 1723 are "ex officio" compositions; only a small n~ber of later works (G39, G40, G49), by contrast, can be said to be of this type. Commissions from a variety of sources - student organizations, members of noble and bourgeois families - can be either documented or postulated for works from the Leipzig period. Not infrequently, however, only Bach himself could have been the initiator.
Works written before 1723 would have been performed almost exclusively by the musical ensembles of the various courts with which Bach was affiliated. The locales of these performances, in turn, would have been restricted largely to the. court's castles or other residences. During the Leipzig period, the most important ensemble between 1729 and approximately 1740 was the "Bachisches Collegium Musicum". For the other years in Leipzig, there were ad hoc ensembles, consisting of students and amateurs, as well as Bach's family and private pupils. Town musicians could also be called upon, for a supplemental fee. The panorama of performance locales included Zimmermann's Coffee House or Coffee Garden for regular concerts rordinaire Concerte") of the Collegium Musicum; the Market Place, the Catharinenstrasse, and other Leipzig streets and squares for the "extraordinaire Concerte" of the Collegium Musicum, for student processions, and for music in honor of specific individuals; and finally, the houses of the nobility, the bourgeoisie, and the Leipzig Thomas School, including Bach's own living quarters there. |
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Synopsis - List by Group and BC Number - Work Group G |
BC |
BWV |
BGA |
NBA |
Year |
Title / Comments |
|
|
|
|
|
For Members of Princely Cours |
|
|
|
|
|
Sachesen-Weißenfels |
G 1 |
208 |
XXIX |
I/35 |
1713 |
Was mir behagt, ist nur die muntre Jagd (Jagdkantate - Hunt Cantata, 1st version) → A 86, A 181, B 9, G 3, G 27 |
[G 2] |
249a |
|
II/7 |
1725 |
Entflieht, verschwindet, entweichet, ihr Sorgen (Patoral Cantata, incomplete) → D 8a/b, G 28 |
|
|
|
|
|
Sachesen-Weimar |
G 3 |
208 |
XXIX |
I/35 |
1713 |
Was mir behagt, ist nur die muntre Jagd (Jagdkantate - Hunt Cantata, 2nd version) → A 86, A 181, B 9, G 1, G 27 |
|
|
|
|
|
Anhalt-Köthen |
[G 4] |
66a |
- |
- |
1718 |
Der Himmel dacht auf Anhalts Ruhm und Glück (music lost) → A 56 |
G 5 |
134a |
XXXIV |
I/35 |
1719 |
Die Zeit, die Tag und Jahre macht → A 59 |
[G 6] |
Anh 6 |
- |
|
1720 |
Dich loben die lieblichen Strahlen der Sonne (music lost) |
[G 7] |
Anh 7 |
- |
|
1720? |
Heut ist gewiß ein guter Tag (music lost) |
G 8 |
184a |
- |
|
1720/21 |
Cantata fragment (text & occasion unknown) → A 88, G 18 |
G 9 |
173a |
XXXIV |
I/35 |
1717 |
Durchlauchtster Leopold → A 85, A 89 |
[G 10] |
Anh 8 |
- |
|
1723 |
Congratulatory cantata (text & music unknown) |
G 11 |
194a |
|
|
<1723 |
Cantata fragment (text & occasion unknown) → A 91a/b, B 31 |
[G 12] |
36a |
- |
- |
1726 |
Steigt freudig in die Luft (music lost) → A 3a/b, G 35, G 38 |
|
|
|
|
|
Anhalt-Zerbst |
[G 13] |
Vorwort |
|
|
|
Birthday cantata (text & music lost) |
|
|
|
|
|
Sachsen-Polen |
[G 14] |
Anh 9 |
- |
|
1727 |
Entfernet Euch, Ihr heitern Sterne (music lost) → E 1 |
[G 15] |
193a |
- |
|
1727 |
Ihr Häuser des Himmels, ihr scheinenden Lichter (music lost) → B 5, E 2 |
[G 16] |
Anh 11 |
- |
|
1732 |
Es lebe der König, der Vater im Lande (music lost) → E 1, G 18, G 21, G 31, G 32 |
[G 17] |
Anh 12 |
- |
|
1733 |
Frohes Volk, Vergnügte Sachsen → D 9, G 39 |
G 18 |
213 |
XXXIV |
I/36 |
1733 |
Laßt uns sorgen, laßt uns wachen → A 88, D 7, G 8, G 16 |
G 19 |
214 |
XXXIV |
I/36 |
1733 |
Tönet, ihr Pauken! Erschallet, Trompeten! → D 7 |
[G 20] |
205a |
- |
- |
1734? |
Blast Lärmen, ihr Feinde (incomplete) → A 24, G 36, G 43, G 47 |
G 21 |
215 |
XXXIV |
I/37 |
1734 |
Preise dein Glücke, gesegnetes Sachsen → D 7, E 1, G 16 |
G 22 |
207a |
XX/2
XXXIV |
I/37 |
1735 |
Auf, schmetternde Töne der muntern Trompeten → G 37, O 5 |
G 23 |
206 |
XX/2 |
I/36 |
1734 |
Schleicht, spielende Wellen, und murmelt gelinde → (1st version) → G 26 |
[G 24] |
Anh 13 |
- |
|
1738 |
Willkommen, Ihr herrschenden Götter der Erden (music lost) |
[G 25] |
- |
- |
|
|
Homage cantata (text & music lost) |
G 26 |
206 |
XX/2 |
I/36 |
1734 |
Schleicht, spielende Wellen, und murmelt gelinde → (2nd version) → G 23 |
[G 27] |
208a |
|
KB I/37 |
|
Was mir behagt, ist nur die muntre Jagd (Jagdkantate - Hunt Cantata, 3rd version) → A 36, A 181, B 9, G 1, G 3 |
|
|
|
|
|
|
|
|
|
|
|
For Members of the Nobility |
[G 28] |
249b |
- |
- |
1726 |
Verjaget, zerstreuet, zerrüttet, ihr Sterne (music lost) → D 8a/b, G 2 |
G 29 |
210a |
XXIX |
I/39 |
1738 |
O angenehme Melodei (3 versions, incomplete) → G 31, G 44 |
[G 30] |
Anh 10 |
- |
|
1731 |
So kämpfet nur, ihr muntern Töne (music lost) → A 190, G 7 |
G 31 |
30a |
V/1
XXXIV |
I/39 |
1737 |
Angenehmes Wiederau → A 178, G 16, G 29, G 44 |
G 32 |
212 |
XXIX |
I/39 |
1742 |
Mer hahn en neue Oberkeet (Bauernkantate - Peasant Cantata) → G 16, G 46 |
|
|
|
|
|
|
|
|
|
|
|
For University-related Events |
|
|
|
|
|
Orations |
[G 33] |
Anh 20 |
- |
|
1723 |
Latin Ode (text & music lost) |
G 34 |
198 |
XIII/3 |
I/38 |
1727 |
Laß, Fürstin, laß noch einen Strahl (Trauerode - Funeral Ode) → B 24, D 4 |
|
|
|
|
|
Homage to members of the faculty |
G 35 |
36c |
XXXIV |
I/39 |
1725 |
Schwingt freudig euch empor → A 3a/b, G 12, G 38 |
G 36 |
205 |
X1/2 |
I/38 |
1725 |
Zerreißet, zersprenget, zertrümmert die Gruft (Der zufriedengestellte Aeolus - The pacified Aeolus) → A 24, G 20, G 43, G 47 |
G 37 |
207 |
XX/2 |
I/38 |
1726 |
Vereinigte Zwietracht der wechselnden Saiten → G 22, O 5 |
G 38 |
36b |
XXXIV |
I/38 |
1735 |
Die Freude reget sich (incomplete) → A 3a/b, G 12, G 35 |
|
|
|
|
|
|
|
|
|
|
|
For Thomas School Events |
G 35 |
36c |
XXXIV |
I/39 |
1725 |
Schwingt freudig euch empor → A 3a/b, G 12, G 38 |
[G 39] |
Anh 18 |
- |
|
1732 |
Frohe Tag, verlangte Stunden (music lost) → D 9, G 17 |
[G 49] |
- |
|
|
|
Wo sind meine Wunderwerke (music lost) |
[G 40] |
Anh 19 |
- |
|
1734 |
Thomana saß annoch betrübt (music lost) |
|
|
|
|
|
|
|
|
|
|
|
For Wedding Ceremonies |
G 41 |
202 |
X1/2 |
I/40 |
1718-23 |
Weichet nur, betrübte Schatten |
[G 42] |
- |
|
|
|
Auf! süß-entzückende Gewalt (music lost) → D 9, E 1 |
G 43 |
216 |
- |
I/40 |
1728 |
Vergnügte Pleißen-Stadt (incomplete) → G 36, G 45, G 47 |
G 44 |
210 |
XXIX |
I/40 |
1742 |
O holder Tag, erwünschte Zeit → G 29, G 31 |
|
|
|
|
|
|
|
|
|
|
|
For Various Occasions |
G 45 |
204 |
X1/2 |
I/40 |
1726-27 |
Ich bin in mir vergnügt (Von der Vergnügsamkeit - Of satsifaction) → G 43, G 47 |
G 46 |
201 |
X1/2 |
I/40 |
1729 |
Geschwinde, ihr wirbelnden Winde (Der Streit zwischen Phoebus und Pan - The contest between Phoebus and Pan) → G 30, G 32, G 40 |
[G 47] |
216a |
- |
- |
>1728 |
Erwählte Pleißenstadt (music lost) → G 36, G 43, G 45 |
G 48 |
211 |
XXIX |
I/40 |
1734-35 |
Schweigt stille, plaudert nicht (Kaffee-Kantate - Coffee Cantata) |
G 49 |
Vorwort |
- |
- |
|
Cantata draft (possibly belonging to: Wo sind meine Wunderwerke) |
G 50 |
209 |
XXIX |
I/41 |
1708-17 |
Non sa che sia dolore |
G 51 |
203 |
X1/2 |
I/41 |
1718-23? |
Amore traditore |
G 52 |
Vorwort |
- |
- |
|
Ihr Wallenden Wolken |
|
Source: Bach Compendium - Volume 1, Part 4: Vocal Works IV (contains the works of groups E, F, G and H),
Leipzig 1989, ISBN 3-369-00051-2 or Frankfurt / M. 1989, ISBN 3-876-26084-1, pp 1449, 1452-1454
Prepared by Aryeh Oron & David O. Berger [Concordia Seminary Library, St. Louis, MO, USA] (September 2009) |