Cantatas for Gesima Sundays

Pre-Lenten Chorales, "gesima" Sundays: Septuagesima, Sexagesima, Quinquagesima

William L. Hoffman wrote (February 7, 2018):
Following the feast of the Visitation and the recognition of Jesus' humanity, as the closed Lenten period in Leipzig approached, Bach prepared for the presentation of the annual Good Friday vespers oratorio Passion while completing cantatas using transitional chorales that addressed the importance of Jesus Christ and the pending, sacrificial death on the cross. The final, pre-Lenten Sundays were the so-called “gesima” or “Lord’s Day” observances known as Septuagesima, Sexagesima, and Quinquagesima Estomihi. While rarely observed in today’s Christian churches, in Bach’s time they were an important transition from the Christmas season and Epiphany Time to the Lenten season and Holy Week, culminating in the Good Friday Passion and Easter Sunday resurrection. Bach’s choice of chorales reflected this transition and the freedom he was given to utilize varied omnes tempore (Ordinary Time) hymns preparatory for Lent in the first two Sundays and use Passion chorales for Quinquagesima Estomihi. Bach responded with three varied cantatas for each of the three Sundays, often a chorus cantata (BWV 144, 181, 22-23), a chorale cantata (92, 126, 127), and a solo cantata (84, 18, 159) for each of the three cantata cycles.

These symbolic Sundays signified the 70 days of fasting (or feast-less days), which recalled the 70 years Israel spent in captivity in Babylon. Each of the three Sundays represented the passage of 10 days from 70 to 60 to 50, followed by the 40 days of Lent (or six weeks). Number 40 in the synoptic gospels signifies Jesus in the wilderness undergoing the human temptations of evil through food, immorality, and dominion before he began his ministry (https://en.wikipedia.org/wiki/Lent), as well as, in the Old Testament, the Israelites in the desert for 40 years after leaving Egypt (http://www.biblestudy.org/bibleref/meaning-of-numbers-in-bible/40.html). The three “Gesima” Sundays were established by Pope Gregory (590-604 AD) to precede the 40 Lenten days. Septuagesima Sunday, the first of the Gesima Sundays or the Third Sunday before Lent, established the pre-Lenten fasting, reflection, and penitential period, observing the cessation of the Christmastide Alleluia and Gloria, with the use of Purple service paraments and vestments of Lent. Actual Lenten fasting practices have varied over the years.

The two most significant pre-gesima, contrasting chorales in Bach's time were “Herr Christ, der einge Gottes-Sohn” (Lord Jesus Christ, the only Son of God) and “Von Gott, will ich nicht lassen" (I shall not abandon God) which Bach used variously reflecting the church year periods of Advent, Epiphany, and Trinity Time. "Herr Christ, der einge Gottessohn" is the Elisabeth Kreutziger early Reformation justification hymn based on medieval Jesus mysticism, while Ludwig Helmbold's 1563 hymn of deliverance from pestilence, “Von Gott, will ich nicht lassen," quotes Psalm 73:23 (Nevertheless I am continually with thee), Psalm 73, Quam bonus Israel (Truly God is good to Israel), which places trust in God as well as eschatological trust in Christ.

"Herr Christ, der einge Gottessohn"¹

"Herr Christ, der einge Gottessohn," is based on the 1524 Wittenberg five-verse hymn of Elisabeth Kreuziger (c.1500-35), wife of a Martin Luther pupil and preacher (Kaspar Kreuziger) in the initial "Wittenberg orbit" of reformers. It is set in 5-line Bar Form, and was first published in the Erfurt Enchiridion in 1524. The source is the Latin Christmas hymn by Aurelius Prudentius (c.348-413), Corde natus ex parentis (Of the Father's Love Begotten). It "is the first Reformation chorale to draw on the late medieval tradition of Jesus mysticism that became prominent in succeeding generations" (BCW, http://www.bach-cantatas.com/CM/Herr-Christ-einge.htm. It was adapted as choral settings by Hans Leo Hassler, Johann Hermann Schein, and Samuel Scheidt; organ settings of Scheidt, Johann Heinrich Scheidemann, and Sebastian Knüpfer, as well as Buxtehude, Johann Michael Bach, and Johann Pachelbel; and Bach contemporaries in Telemann cantatas and cousin Johann Gottfried Walther organ preludes.

The liturgical use of "Herr Christ, der einge Gottessohn" is in the omnes tempore (Ordinary Time) church year thematic time of Lutheran Justification, particularly in later, thematic Advent, Epiphany, and Trinity Times, where it is found in the Gottfried Vopelius Das Neu Leipziger Gesangbuch (NLGB) of 1682 as Hymn No. 231 (Luther's Catechism Justification). The first two stanzas are a mystical description of Jesus, notably "morning star," the third stanza is a mystical union (unio mystica) of believer and Jesus indwelling in the heart (inhabitatio), the fourth stanza is a Johannine cosmic linkage of son to father, and the last stanza which Bach used in four cantatas, "Ertöt uns durch dein Güte" (Mortify us through thy goodness), is Paul's teaching (Roman's 8:13) that the true believer will live forever, based on. Luther's Theology of the Cross. The original Latin Nativity hymn describes these verses in greater Johannine detail (https://en.wikipedia.org/wiki/Of_the_Father%27s_Heart_Begotten, https://www.youtube.com/watch?v=dGzD8DDxx0A). "Herr Christ, der einge Gottessohn" is one of several popular Justification chorales that Bach set, "Durch Adams Fall ist gantz verderbt" (By Adam's Fall All Is Corrupted), "Es ist das Heil uns kommen her" (Salvation Has Come To Us), "Nun freut euch lieben Christen gmein" (Now Rejoice, Dear Christians All), and "Also hat Gott die Welt geliebt" (God so loved the world, John 3:10).

Besides setting the entire hymn "Herr Christ, der einge Gottessohn" as Chorale Cantata BWV 96, for the 18th Sunday after Trinity 1724 (https://en.wikipedia.org/wiki/Herr_Christ,_der_einge_Gottessohn,_BWV_96), Bach used the closing fifth verse in three other cantatas: BWV 132/6, "Bereite die Wege, Bereite die Bahn!" (Prepare the Way, Prepare the Road), for the 4th Sunday in Advent 1715; BWV 164/6, "Ihr, die ihr euch von Christo nennet" (You, who are yourselves after Christ called), for the 13th Sunday after Trinity in 1725; and chorale chorus closing Cantata BWV 22/5, "Jesus nahm zu zich die Zwölfe (Jesus Took With Him the Twelve), for Estomihi probe 1723. "Herr Christ, der einge Gottessohn" is found in hymnbooks of Bach's day for these omnes tempore services, as well as the Purification Feast, says Günther Stiller.² Bach also set the melody in two chorale preludes, Orgelbüchlein, BWV 601 and Kirnberger chorale, BWV 698 (both for Advent). Music (https://www.youtube.com/watch?v=wsZaX0EMkr8; BWV 22/5, 96/1,6 [http://www.bach-chorales.com/BWV0096_6.htm], 132/6, 164/6, 601, 698). "Herr Christ, der einge Gottessohn" is known as "The Only Son From Heaven," No. 86 for Epiphany, with resemblance to the Christmas Hymn, "Of the Father's Love Begotten," in the Epiphany section of the Lutheran Book of Worship (Minneapolis: Augsburg, 1978). It is listed as No. 40 in the Evangelisches Kirchengesangbuch (EKG)

“Von Gott, will ich nicht lassen"

“Von Gott, will ich nicht lassen" (I shall not abandon God), is Ludwig Helmbold's was "written during a pestilence at Erfurt in 1563, was first published as a broadsheet in 1563-64 and later in Hundert Christenliche Haussgesang (Nürnberg, 1569), ” says Charles S. Terry in Bach’s Chorals, Part I.³ The nine-stanza, eight-line hymn is No. 310 in the NLGB under the category Word of God & Christian Church, near the end of the omnes tempore section. “Von Gott will ich nicht lassen” Getext and Francis Browne English translation is found at BCW http://www.bach-cantatas.com/Texts/Chorale079-Eng3.htm. Stanza 9 is omitted but it is found closing Cantata 73, BCW, http://www.bach-cantatas.com/Texts/BWV73-Eng3.htm. Also omitted is Stanza 7, text: "Die Seel bleibt unverloren, / Geführt in Abrams Schoß; / Der Leib wird neu geboren, / Von allen Sünden los, / Ganz heilig, rein und zart, / Ein Kind und Erb des Herren; / Daran muss uns nicht irren Des Teufels listig Art." (The soul is left alive, / Led in Abrams lap; / The body is born again, / Get rid of all sins, / Very holy, pure and tender, / A child and heir of the master; / We do not have to be wrong about that / The devil's cunning kind.) Helmbold BCW Short Biography, http://www.bach-cantatas.com/Lib/Helmbold.htm, melody and text information at BCW http://www.bach-cantatas.com/CM/Von-Gott-will-ich-nicht-lassen.htm. See also, BCW “Motets and Chorales for Epiphany Time,” http://www.bach-cantatas.com/LCY/M&C-Epiphany-Time.htm.

It is listed in the Orgelbüchlein as No. 93 (Christian Life & Conduct) but not set. The hymn takes its opening line from Psalm 73:23, emphasizing a mutual bond between God and believer as well as addressing God's protection and the Christian themes of overcoming death, and salvation through Jesus Christ. The topics include God's help in times of distress, salvation from sin and death, transformation of suffering into trust and hope, transitory existence with eschatological hope and joy in eternity, and the closing trinitarian embrace of the Father's will, the son's abundance of Good and mercy and the Holy Spirit's faith leading to heaven. The versatile hymn was listed for nine occasions in the church year: Advent 3, Christmas 3, Sunday after New Year, Easter 2, 3 and 6, and Trinity 8, 8, and 14 — the only de tempore service being Christmas 3, dedicated to John the Evangelist, reports Anne Leahy.⁴

The chorale melody has inspired other, related hymns which Bach used: Paul Eber's 1590 New Year's thanksgiving, "Helft mir Gott's Güte preisen" (Help me to praise God's goodness, http://www.bach-cantatas.com/Texts/Chorale082-Eng3.htm); Johann Heerrman's 1630 search for unity with God,, "Was willst du dich betrüben" (Why do you want to distress yourself, http://www.bach-cantatas.com/Texts/Chorale081-Eng3.htm); and the 1697 pietist hymn, "Gott fähret auf gen Himmel" (God ascends into heaven, https://translate.google.com/translate?hl=en&sl=de&u=http://www.lutheran-hymnal.com/german/tlh214g.htm&prev=search), a plea for Christ's final coming in symbolic reincarnation.

Bach used the final fifth stanza of “Von Gott, will ich nicht lassen," "Das ist des Vaters Wille" (This is the Father's will), to lose Cantata 73, "Herr, wie du willt, so schick's mit mir" (Lord, as you will, deal with me), for the 3rd Sunday after Epiphany 1723. He used the corresponding melody in chorale Cantata BWV 107, "Was willst du dich betrüben" for the 7th Sunday after Trinity 1724, for the closing stanza, "Wenn soll es doch geschehen" (When will it happen) to the Gottfried Wilhelm Sacer hymn, "Gott fähret auf gen Himmel," closing the Ascension Oratorio in 1735. Bach also set the melody in three plain chorales, BWV 417-419 (http://www.bach-chorales.com/BWV0417.htm); music https://www.youtube.com/watch?v=dM99s2bSrII; BWV 73/5, 417-419, 658, 658a, 11/9, 107/1,5,7).

Bach composed the "Great Leipzig" eschatological chorale setting, BWV 658(a) in the f minor tonality, observes Leahy, to show the chorale's emphasis on man's distress and God's protection, with frequent dissonances, and God's protection in the figura corta joy motive. Bach also composed three other chorale-based organ preludes in f minor involving distress/protection, she points out (Ibid.: 125): Orgelbüchlein "Ich ruf zu dir, Herr Jesu Christ, BWV 639 (Christian Life & Conduct); Clavierübung III, "Jesus Christus, unser Heiland" (Jesus, Christ, our Saviour; Catechism Confession); and Lenten Evening Hymn, "Christ, der du bist der helle Tag" (Christ, you who are the bright day), Chorale Partita, BWV 766. The stanza in Prelude BWV 658(a) which Bach portrayed in his musical setting probably was the second, Leahy suggests (Ibid.: 129): "Wenn sich der Menschen Hulde / Und Wohltat all' verkehrt, / So find't sich Gott gar balde, / Sein' Macht und Gnad' bewährt, / Hilfet aus aller Not, / Errett't von Sünd' und Schanden, / Von Ketten und von Banden, / Und wenn's auch wär' der Tod." (When human support and help / are completely ineffective, / then God is soon found, / His power and grace prove their worth, / he helps us in all distress, / He rescues us from sin and shame, / from chains and from bonds / and even from death.) The setting of "Jesus Christus, unser Heiland" "shows how the Passion of Christ and the institution of the Abendmahl provide eternal life," she says (Ibid.: 130), reinforcing Luther's Theology of the Cross.

“Christ, der du bist der helle Tag” (Christ, you are the bright day) is an Erasmus Alberus evening hymn (1556) in seven 4-line stanzas to the associated melody (Zahn 384),⁵ based on the popular 6th century Ambrosian Lenten Compline, Christe qui lux es et dies (O Christ who art the light and day), first published in the Die Morgengeseng fur die Kinder (Nürnberg c. 1556), says Charles S. Terry (Organ Works),⁶ in Gesangbuch der Böhm Brüder (Eisleben 1568). The Latin hymn (NLGB 204), set by various composers, is also known as the Evening Song Te lucis ante terminum (To Thee before the close of day, https://en.wikipedia.org/wiki/Te_lucis_ante_terminum). The hymn “Christ, der du bist der helle Tag” is found in the NLGB as No. 205, listed in the Orgelbüchlein as Ob. 148, and in Schemelli as No 431 (without music) — all as Evening Hymns. Bach composed three settings (https://www.youtube.com/watch?v=aN8yHkICe9c): plain chorale BWV 273 (http://www.bach-chorales.com/BWV0273.htm, organ Chorale Variations (Partita) BWV 766 (https://www.youtube.com/watch?v=7rG0qcAwU9g) and as Neumeister chorale prelude, BWV 1120 (https://library.musicaneo.com/sheetmusic/purchase/sm-87666_christ_der_du_bist_der_helle_tag_bwv_1120.html?key=43FmjqJD8iS6yB2LIULj-ldi-Q6AKwTW#87666).

Three Gesima Sundays⁷

The biblical readings for these three “Gesima” Sundays and the Introit Psalm motet are as follows:

Septuagesima: Readings: Epistle: 1 Corinthians 9:24-10:5 (Paul’s letter: parable, Our life is like a race; only one receives the prize; Gospel: Matthew 20:1-16 (Parable: The labourers in the vineyard. Complete text is the Martin Luther German translation (1545), with the English translation Authorised (King James) Version [KJV] 1611; for complete texts, see BCW Readings, http://www.bach-cantatas.com/Read/Septuagesima.htm. Introit Psalm for Septuegesima Sunday is Psalm 38, Domine, ne in furore tuo arguas me (Lord rebuke me not in thy fury, Penitential Psalm), says Martin Petzoldt in Bach Commentary, Vol. 2, Advent to Trintyfest.⁸ He calls Psalm 38 “Bußgebet um Erlvon der schweren Sündenlast (a Penitential Prayer about completion of sins’ burden). The full text for Psalm 38 is found at http://www.christiananswers.net/bible/psa38.html. The Penitential Psalms are Psalms 6, 32, 38, 51, 102, 130, 143. Psalm 38 has the same incipit as Psalm 6, which is paraphrased in chorale Cantata BWV 135, “Ach Herr, mich armen Sünder” (Ah Lord, poor sinner that I am), for the 3rd Sunday after Trinity 1724.

Sexagesima: The readings for Sexagesima Sunday, or the Second Sunday before Lent, are: Epistle: 2 Corinthians 11.19-12.9 (God’s power is mighty in the weak [Paul’s suffering], Gospel: Luke 8.4-15: The Parable of the Sower. The Litany (no. 3) is influenced by the persecution and sufferings of Paul in the Epistle reading. The texts are found at BCW, http://www.bach-cantatas.com/Read/Sexagesima.htm. The introit Psalm is popular Psalm 1, Beatus vir qui nabiit (Blessed is the man that walketh not in the counsel of the ungodly, KJV), says Petzoldt (Ibid.: 571). The theme of Psalm 1 is “Apprenticeship in Bliss of Piety and Punishment by Removal” (Lehre von Glückseligkeit der Frommen und Strafe der Gottlosen), says Petzoldt. The full text is found at http://www.kingjamesbibleonline.org/Psalms-Chapter-1/.

Quinquagesima: Readings for Quinquagesima Estomihi are: Epistle: 1 Corinthians 13:1-13 (Paul’s Letter, “In praise of charity”); Gospel: Luke 18: 31-43 (Jesus, “We go up to Jerusalem,” Miracle, “The blind man receives sight”). The Quinquagesima Estomihi Sunday Gospel (Luke 18:31-43) has two distinct episodes, of Jesus telling the disciples of going to Jerusalem and his coming Passion as well as the miracle of sight restored to a blind man begging near Jericho. For complete texts, see BCW Readings, http://www.bach-cantatas.com/Read/Estomihi.htm. Introit Psalm for Quinquagesima Estomihi Sunday in Bach's time was Psalm 31, In te, Domine, speravi (In thee, O Lord, do I put my trust, KJV), says Petzoldt (Ibid.: 599). It also is known in German as Adam Reusner’s 1533 “In dich hab' ich gehoffet Herr” (In you I have placed my hope, Lord; Christian Life and Conduct, Psalm 31, NLGB 254)

"Gesima" Cantatas, Chorales

Bach composed three varied cantatas for each of the three pre-Lent Sundays: Septuageisma (BWV 144, BWV 92, BWV 84), Sexagesima (BWV 18, BWV 181, BWV 126) and Quinquagesima Estomihi (BWV 22/23, BWV 127, BWV 159): 1724 chorus Cantata 144, "Nimm, was dein ist, und gehe hin" (Take what is yours and go on your way, Matthew 20:14); 1725 chorale Cantata 92, "Ich habe in Gottes Herz und Sinn" (I have surrendered to God's heart and mind); 1726 solo Cantata 84, "Ich bin vergnügt mit meinem Glücke" (I am content with my luck); 1715 solo Cantata 18, "Gleichwie der Regen und Schnee vom Himmel fällt" (Just as the rain and snow fall from heaven, Isaiah 55:10); 1724 solo Cantata 181, "Leichtgesinnte Flattergeister" (Scatterbrained frivolous people); 1725 chorale Cantata 126, "Erhalt uns, Herr, bei deinem Wort" (Preserve us, Lord, with your word); 1723 Cantatas 22, "Jesus nahm zu sich die Zwölfe und sprach" (Jesus took the twelve to himself and spoke, Luke 18:31), and 23, "Du wahrer Gott und Davids Sohn" (You true God and son of David); 1725 chorale Cantata 127, "Herr Jesu Christ, wahr' Mensch und Gott" (Lord Jesus Christ, true God and man); and 1729 solo Cantata 159, "Sehet! Wir gehn hinauf gen Jerusalem" (See! We are going up to Jerusalem, Luke 18:31).

Bach used non-Passion omnes tempore chorale texts in his first two pre-Lent “Gesima Sunday” cantatas: for Septuagesima, Samuel Rodigast’s 1674 “Was Gott tut, das ist wohlgetan” (What God does, that is done well (BWV 144/3), Paul Gerhardt’s 1647 “Ich hab in Gottes Herz und Sinn” (I have surrendered to God's heart and mind, Chorale Cantata BWV 92), and Ämilie Juliane von Schwarzburg-Rudolstadt’s 1657 “Wer weiß, wie nahe mir mein Ende” (Who knows how near to me is my end! (BWV 84/5). For Sexagesima are Lazarus Spengler’s 1524 “Durch Adams Fall ist ganz verderbt” (Through Adam’s is completely corrupted, BWV 18/5), Cantata 181 (no chorale), and Luther’s 1542 “Erhalt uns, Herr, bei deinem Wort" (Preserve us, Lord, with your word, BWV 126).

Instead of relying on his hymnbook, Das Neu Leipzig Gesangbuch of 1682, which listed a range of omnes tempore (Ordinary Time) hymns for “Gesima Sundays” but no Passion or newer chorales, Bach sometimes turned to the more varied Dresden hymn schedules. “In addition to several hymns mentioned specifically, the Dresden hymnbooks of about 1725 had often in a very general way suggested ‘Concerning the Christian Church and the Word of God,” including Bach’s favorite Luther hymns as in Chorale Cantata 126, says Stiller (Ibid.: 238). Chorale Cantata BWV 126 actually closes with a different Luther hymn, 1529 “Verlieh uns Frieden Gnädiglich” (Grant us peace, Dona nobis pacem), with similar melodies (Zahn 1945b).

In his cantatas for Quinquagesima Estomihi Sunday, Bach was able to use Passion chorales in accordance with the hymn schedules of Leipzig and Dresden, says Stiller (Ibid.: 239). The cantatas are: “Jesus nahm zu sich die Zwölfe” (Jesus took the twelve to himself, BWV 22), “Du wahrer Gott und Davids Sohn” (Thou very God and David’s Son, BWV 23), “Herr Jesu Christ, wahr’r Mensch und Gott” (Lord Jesus Christ, true man and God, BWV 127), and “Sehet, wir gehen hinauf gen Jerusalem (See! We are going up to Jerusalem, BWV 159).” The chorales used in these cantatas are and their designations, says Stiller, are: “Herr Christ, der einig Gottes Sohn (Lord Christ, God’s only son, BWV 22/5, Epiphany Time)”; “Herzlich tut much verlangen” (Passion chorale) “Christe, du Lamm Gottes” (Christ, thou lamb of god, Cantata 23/4, Lenten) and “Herr Jesu Christ, wahr’ Mensch und Gott” (Lord Jesus Christ, true man and God, S.1&5, Estomihi) (BWV 127); and “Ich will hier bei dir stehen” (Passion Chorale, BWV 159/2) and “Jesu, deine Passion” with melody “Jesu, Kreutz, Leiden und Pein” (Jesus Cross, Suffering, and Pain, BWV 159/6).

Bach's cessation of his chorale cantata cycle at Lenten time 1725 now appears to be intentional (see http://www.bach-cantatas.com/BWV1-D5.htm). He had composed 40 consecutive hymn-based musical sermons, beginning on the first Sunday after Trinity 1724 with Cantata 20, "O Ewigkeit, du Donnerwort" (O eternity, you word of thunder), and following the three pre-Lenten gesima presentations in 1725 (Cantatas 92, 126 and 127), he presented chorale Cantata 1, "Wie schön leuchtet der Morgenstern" (How beautifully shines the morning star), for the Feast of Annunciation of Mary, on 25 March 1725, a dual celebration on Palm Sunday. The next service, Good Friday vespers, Bach presented his second version of the St. John Passion,⁹ with three substitute chorale settings to open and close the work, opening chorus"O Mensch, bewein dein Sünde Gross" (O man, bewail thy great sins), and closing chorus, "Christe, du Lamm Gottes" (Christ, thou lamb of God), as well as "Jesu, deine Passion" (Jesus, your passion), Paul Stockman hymn, in a Jesus-Soul dialogue aria, "Himmel reiße, Welt erbebe" (Heaven, tear apart; world, quake), when the servant strikes Jesus (John 18:23). All three chorales are infused with the synoptic gospel emphasis on the Anselm substitution theory of sacrificial atonement, instead of the John Gospel Christus Viktor concept.

Bach had considerable freedom to chose and use chorales during the Pre-Lenten Time, as he had for the omnes tempore (Ordinary Time) of Epiphany and Trinity. His hymnbook, the NLGB, lists various such hymns for all three Sundays: Septuagesima, Sexagesima, and Quinquagesima Estomihi. For Septuagesima Sunday the NLGB-listed hymns (p.293) are: “Vater unser im Himmelreich”; “Ich ruft zu dir, Herr Jesu Christ”; “O Herre Gott, dein Göttlich Wort”; and “Es ist das Heil uns kommen her.” The NLGB notes that the Johann Hermann Schei1627 Cantional Leipzig Songbook also lists the same four chorales under the NLGB omnes tempore heading “Vom Kreutz/Verfolung und Anfechtung” (Cross, Persecution and Challenge; Chorales Nos. 275-304). The Schein heading continues for Sexagesima Sunday (“Ich ruf zu dir” and “Ach Gott vom Himmel siehe darein”). Quinquagesima Estomihi Sunday carries the Schein heading “Von der Beich und Buß” (Confession and Penitence) that is cross-referenced for the NLGB de tempore Passiontide (Lent), “Vom Leiden und Sterben Jesu Christi” (Suffering and Death of Jesus), Chorales Nos. 61-85). The four chorales for Quinquagesima are: “Durch Adams Fall ich ganz verderbt,” Michael Weiße's “Die Propheten han geprophezeit” (not set by Bach), “O wir armen Sünder,” and “Sündiger Mensch schau wer du bist” (not set by Bach; melody "Christe, der du bist Tag und Licht," evening song set by Bach).

FOOTNOTES

¹ Source, Cantata 96, Discussions, Part 4 (September 28, 2014), BCML http://www.bach-cantatas.com/BWV96-D4.htm). "Herr Christ, der einge Gottessohn," Corde natus ex parentis, texts and Francis Browne English translations, http://www.bach-cantatas.com/Texts/Chorale114-Eng3.htm).
² Stiller, Johann Sebastian Bach and Liturgical Life in Leipzig, ed. Robin A. Leaver (St. Louis MO: Concordia Publishing, 1985: 233, 239, 244, 290).
³ Terry, Bach’s Chorals. Part I: The Hymns and Hymn Melodies of the Cantatas and Motetts (Cambridge University Press, 1915-1921: 282), on-line, January 23, 2016. http://oll.libertyfund.org/titles/2056.
⁴ Anne Leahy, J. S. Bach's "Leipzig" Chortales: Music, Text, Theology, Contextual Bach Studies 3, ed. Robin A. Leaver (Lanham MD: Scarecrow Press, 2011: 123f).
⁵ German text, https://hymnary.org/text/christe_du_bist_der_helle_tag; English (on-line) translation, https://translate.google.com/translate?hl=en&sl=de&u=https://hymnary.org/text/christe_du_bist_der_helle_tag&prev=search; see: Peter Williams, The Organ Music of J. S. Bach, 2nd ed. (Cambridge University Press, 2003: 499f), https://books.google.com/books?id=gTXxUk1LAowC&pg=PA500&lpg=PA500&dq=Christ,+der+du+bist+der+helle+Tag+Peter+Williams&source=bl&ots=yaYZLH9i-s&sig=NDUG-PnTT5y7RpqlpaJnUTtkJYE&hl=en&sa=X&ved=0ahUKEwiIsfCf3ofYAhVN7GMKHSZKA_4Q6AEIKTAA#v=onepage&q=Christ%2C%20der%20du%20bist%20der%20helle%20Tag%20Peter%20Williams&f=false.
⁶ Charles S. Terry, Bach’s Chorals, Part III: The Hymns and Hymn Melodies of the Organ Works (Cambridge University Press, 2017. http://oll.libertyfund.org/titles/2057.
⁷ Source: "Musical Context of Bach Cantatas, Motets & Chorales for Gesima Sundays," http://www.bach-cantatas.com/LCY/M&C-Gesima.htm.
⁸ 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: 527).
⁹ St. John Passion, 1725 Version 2, a new NBArev edition, BA-5938, of Christoph Wolff is due soon for publication, https://www.baerenreiter.com/en/catalogue/complete-editions/bach-johann-sebastian/nbarev/overview-of-volumes/. Wolff also is author of the recently-published Bach: A Life in Pictures, BD IX.

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To Come: Estomihi Cantata 159, "Sehet! Wir gehn hinauf gen Jerusalem" (See! We are going up to Jerusalem, Luke 18:31).