Church cantata (Bach)

Throughout his life as a musician, Johann Sebastian Bach composed cantatas for both secular and sacred use. His church cantatas are cantatas which he composed for use in the Lutheran church, mainly intended for the occasions of the liturgical year.

History and context
Bach's Nekrolog mentions five cantata cycles: "Fünf Jahrgänge von Kirchenstücken, auf alle Sonn- und Festtage" (Five year-cycles of pieces for the church, for all Sundays and feast days), which would amount to at least 275 cantatas, or over 320 if all cycles would have been ideal cycles. The extant cantatas are around two-thirds of that number, with limited additional information on the ones that went missing or survived as fragments.

The listing below contains cycle information as available in scholarship, and may include cantatas that are or were associated with Bach (e.g., listed in the BWV catalogue), but were not actually composed by him.

Before Leipzig
Bach's earliest cantatas date from more than 15 years before he became Thomaskantor in Leipzig in 1723. His earliest extant cantatas were composed in Arnstadt and Mühlhausen. In 1708 he moved to Weimar where he wrote most of his church cantatas before the Leipzig era. These pre-Leipzig cantatas are not generally grouped as one of the five cycles mentioned in the Nekrolog. The extant cantatas of the pre-Leipzig era are primarily known by their recasting as a cantata in one of the Leipzig cycles.

Early cantatas
Bach started composing cantatas around 1707, when he was still an organist in Arnstadt. The first documented performances of his work take place in Mühlhausen, where he was appointed in 1708.

Weimar
In Weimar, Bach was from 1714 to 1717 commissioned to compose one church cantata a month. In the course of almost four years there he thus covered most occasions of the liturgical year. The expression "Weimar cycle" has been used for the cantatas composed in Weimar from 1714 (which form the bulk of extant cantatas composed before Bach's Leipzig time).

Köthen
In Köthen, where Bach worked from 1717 to 1723, he restaged some of his earlier church cantatas. Apart from composing several secular cantatas, Lobet den Herrn, alle seine Heerscharen, BWV Anh. 5, is the only new church cantata he appears to have composed there.

Leipzig
As Thomaskantor, director of music of the main churches of Leipzig, Bach was responsible for the Thomasschule and for the church music at the main churches, where a cantata was required for the service on Sundays and additional church holidays of the liturgical year. When Bach took up his office in 1723, he started to compose new cantatas for most occasions, beginning with Die Elenden sollen essen, BWV 75, first performed in the Nikolaikirche on 30 May 1723, the first Sunday after Trinity. He collected them in annual cycles; five are mentioned in obituaries, three are extant.

The church year begins with the first Sunday in Advent, but Bach started his first Leipzig cycles on the first Sunday after Trinity, which "also marked the beginning of the second half of the Lutheran liturgical year: the Trinity season or "Era of the Church" in which core issues of faith and doctrine are explored, in contrast to the first half, known as the "Temporale" which, beginning in Advent and ending on Trinity Sunday, focuses on the life of Christ, His incarnation, death and resurrection".

Leipzig observed tempus clausum, quiet time, in Advent and Lent, when no cantatas were performed. All cantatas for these occasions date from Bach's earlier time. He reworked some cantatas from this period for different occasions. The high holidays Christmas, Easter and Pentecost were each celebrated on three days. Additionally, feasts were celebrated on fixed dates, the feasts of Purification of Mary (Mariae Reinigung, 2 February), Annunciation (Mariae Verkündigung, 25 March) and Visitation (Mariae Heimsuchung, 2 July), and the Saint's days of St. John the Baptist (Johannis, 24 June), St. Michael (Michaelis, 29 September), St. Stephen (Stephanus, 26 December, the second day of Christmas) and St. John the Evangelist (Johannes, 27 December, the third day of Christmas). Further feasts on fixed days were New Year's Day (Neujahr, 1 January), Epiphany (Epiphanias, 6 January) and Reformation Day (Reformationsfest, 31 October). Sacred cantatas were also performed for the inauguration of a new city council (Ratswechsel, in Leipzig in August), consecration of church and organ, weddings, confession, funerals, and functions of the University of Leipzig.

First cycle
Bach's first (Leipzig) cantata cycle consists of cantatas or similar liturgical works (e.g. liturgical compositions in Latin) first performed from (first Sunday after Trinity) to  (Trinity).

Second cycle
Bach started a second annual cycle on the first Sunday after Trinity of 1724, planned to contain only chorale cantatas, each based on a single Lutheran hymn. He began with O Ewigkeit, du Donnerwort, BWV 20, on the first Sunday after Trinity, composed chorale cantatas to the end of the liturgical year, began the next liturgical year with Nun komm, der Heiden Heiland, BWV 62 for the first Sunday in Advent, and kept the plan up to Wie schön leuchtet der Morgenstern, BWV 1, performed on Palm Sunday. For the occasions from Easter to Trinity, he composed no chorale cantatas based exclusively on one hymn, but wrote a few of them in later years, such as Wachet auf, ruft uns die Stimme, BWV 140, for the 28th Sunday after Trinity which had not occurred in 1724.

Bach's second (Leipzig) cantata cycle consists of cantatas first performed from (first Sunday after Trinity) to  (Trinity). The first 40 cantatas of this cycle are chorale cantatas, thus this cycle is also known as the chorale cantata cycle (at least the first 40 cantatas of the cycle are known thus). Bach's chorale cantatas written at a later date and restagings of earlier chorale cantatas are also usually understood as being included in this cycle.

Third cycle
Bach's third (Leipzig) cantata cycle is traditionally seen as consisting of cantatas first performed from the first Sunday after Trinity in 1725 to Trinity Sunday in 1726, or otherwise before the Picander cycle. More recent scholarship assigns the qualification "between the third and the fourth cycles" to the few known cantatas written from 1727 to the start of the fourth cycle.

In the "third cycle" period Bach also performed many cantatas composed by his second cousin Johann Ludwig Bach a Leipzig premiere. For the period from Purification, to Trinity XIII,  there are extant copies by Johann Sebastian Bach and his usual scribes for 16 cantatas (JLB 1–16), covering nearly half of the occasions in that period. Another cantata, JLB 21, was likely also given its Leipzig premiere in this same period (Easter, 21 April 1726), but was for some time misattributed to Johann Sebastian Bach as his cantata BWV 15.

Fourth cycle
Bach's fourth (Leipzig) cantata cycle, known as the Picander cycle, consists of cantatas performed for the first time from (St. John's Day) to  (fourth Sunday after Trinity), or later in 1729, to a libretto from the printed cycle of 70 cantata texts for 1728–29 by Picander. Later additions to this cycle and Picander librettos without extant setting from Bach's time in Leipzig can be seen as belonging to this cycle.

Later/other
Cantatas not belonging to any of the previous: e.g. first performed after the Picander cycle, uncertainty when it was first performed or for which liturgical occasion it was composed, etc. Generally it is not believed that cantatas composed after the Picander cycle amount to a cycle in its own right, at least there are not enough extant cantatas to unambiguously conclude that a fifth Leipzig cantata cycle ever existed.

Occasions
The Lutheran church of Bach's time prescribed the same readings every year, a section from a Gospel and, recited before this, a corresponding section from an Epistle. A connection between the cantata text and the readings (or at least one of the prescribed hymns for the occasion) was desired. Relevant readings and hymns are linked to the church cantata article for each occasion.

Roman numerals refer to the position of the given Sunday with respect to a feast day or season. For example, "Advent III" is the third Sunday in Advent and "Trinity V" is the fifth Sunday after Trinity. The number of Sundays after Epiphany and Trinity varies with the position of Easter in the calendar. There can be between 22 and 27 Sundays after Trinity. The maximum number of Sundays after Epiphany did not occur while Bach wrote cantatas.

Advent
Advent is celebrated on the four Sundays before Christmas. In Leipzig, only on the first Sunday a cantata was performed, because it was a Fastenzeit (season of abstinence).

Advent I
Composed before the numbered cycles: 1 – First year in Leipzig, : 2 – Chorale cantata cycle, : 3 – Between the second and the fourth cycle?: 4 – Picander cycle, libretto planned for : 5 – Other and/or later:
 * Nun komm, der Heiden Heiland, BWV 61 (, Weimar)
 * BWV 61 restaged
 * Nun komm, der Heiden Heiland, BWV 62
 * BWV 36, early version, first presented between 1725 and 1730
 * Machet die Thore weit (same libretto as planned for Palm Sunday, see below, with no known setting by Bach)
 * Schwingt freudig euch empor, BWV 36 (final version),

Advent II
Composed before the numbered cycles: 4 – Picander libretto for :
 * Wachet! betet! betet! wachet! BWV 70a (in 1723 expanded to BWV 70 for Trinity XXVI)
 * Erwache doch mein Herze (no known setting by Bach)

Advent III
Composed before the numbered cycles: 4 – Picander libretto for : 5 – Other and/or later:
 * Ärgre dich, o Seele, nicht, BWV 186a (in 1723 expanded to BWV 186 for Trinity VII)
 * Alle Plagen, alle Pein (no known setting by Bach)
 * Georg Philipp Telemann's Das ist je gewißlich wahr, TWV 1:183 (1719 or 1720; misattributed to Bach as BWV 141)

Advent IV
Composed before the numbered cycles: 4 – Picander libretto for :
 * Bereitet die Wege, bereitet die Bahn, BWV 132
 * Herz und Mund und Tat und Leben, BWV 147a (in 1723 expanded to BWV 147 for Visitation)
 * Vergiß es, doch, mein Herze, nicht (no known setting by Bach)

Christmastide
The Christmas season was celebrated from Christmas Day (25 December) through Epiphany (6 January). In Leipzig, three consecutive days were observed for Christmas, with a Christmas cantata performed every day (25–27 December). If a Sunday fell between 27 December and 1 January, the first Sunday of Christmas (Christmas I), it was celebrated with a cantata too. Other cantatas were composed for New Year's Day (1 January), a Sunday between 1 and 6 January (if any: Christmas II or New Year I) and Epiphany.

For the Christmas season of 1734–35 Bach composed the Christmas Oratorio in six parts, each part a cantata to be performed on one of the six feast days that occurred in that Christmas period (there was no Christmas I Sunday in 1734): three days of Christmas, New Year, the Sunday after New Year and Epiphany.

Christmas Day
Composed before the numbered cycles: 1 – First year in Leipzig, 1723: 2 – Second year in Leipzig, 1724: 3 – Third cycle, 1725: 4 – Picander cycle, 1728/1729: 5 – Other and/or later:
 * Christen, ätzet diesen Tag, BWV 63 (1714, Weimar)
 * BWV 63 restaged
 * Magnificat, BWV 243a (including Christmas interpolations)
 * Sanctus in D major, BWV 238
 * Gelobet seist du, Jesu Christ, BWV 91 (chorale cantata, early version)
 * Sanctus for six vocal parts, BWV 232III (early version: a slightly modified version of this Sanctus became the Sanctus, Part III of the Mass in B minor
 * Unser Mund sei voll Lachens, BWV 110
 * Ehre sei Gott in der Höhe, BWV 197a (incomplete)
 * BWV 110 restaged between 1728 and 1731
 * BWV 91 (later version: movement 5 and 6 different)
 * Magnificat, BWV 243 (1733, performed on Christmas Day and/or Visitation)
 * Jauchzet, frohlocket! Auf, preiset die Tage, BWV 248I (Christmas Oratorio Part I, 1734)
 * BWV 238 restaged 1735 and/or later
 * Gloria in excelsis Deo, BWV 191 (1742-1746, based on the Gloria of his 1733 Mass for the Dresden court)
 * Uns ist ein Kind geboren, BWV 142 (probably spurious)

Second Day of Christmas
On the second day of Christmas (26 December) Leipzig celebrated Christmas and St. Stephen's Day in alternating years, with different readings.

1 – First cycle, 1723: 2 – Chorale cantata cycle, 1724: 3 – Third cycle, 1725: 4 – Picander cycle, libretto planned for 1728: 5 – Other and/or later:
 * Darzu ist erschienen der Sohn Gottes, BWV 40
 * Christum wir sollen loben schon, BWV 121
 * Selig ist der Mann, BWV 57
 * Kehret wieder, kommt zurücke (no known setting by Bach)
 * Und es waren Hirten in derselben Gegend, BWV 248II (Christmas Oratorio Part II, 1734)

Third Day of Christmas
1 – First cycle, 1723: 2 – Chorale cantata cycle, 1724: 3 – Third cycle, 1725: 4 – Picander cycle, libretto planned for 1728: 5 – Other and/or later:
 * Sehet, welch eine Liebe hat uns der Vater erzeiget, BWV 64
 * Ich freue mich in dir, BWV 133
 * Süßer Trost, mein Jesus kömmt, BWV 151
 * Ich bin in dich entzündt (no known setting by Bach)
 * Herrscher des Himmels, erhöre das Lallen, BWV 248III (Christmas Oratorio Part III, 1734)

Christmas I
Composed before the numbered cycles: 2 – Chorale cantata cycle, : 3 – Third cycle, : 4 – Picander cycle, libretto planned for 1728 (there was however no Sunday between Christmas and New Year 1729):
 * Tritt auf die Glaubensbahn, BWV 152
 * Das neugeborne Kindelein, BWV 122
 * Gottlob! nun geht das Jahr zu Ende, BWV 28
 * Niemand kan die Lieb ergründen (no known setting by Bach)

New Year's Day
On 1 January the feast of the Circumcision of Christ was celebrated, as well as the New Year.

Composed before the numbered cycles: 1 – First cycle, 1724: 2 – Chorale cantata cycle, 1725: 3 – Third cycle, 1726: 4 – Picander cycle, 1729: 5 – Other and/or later:
 * Lobe den Herrn, meine Seele, BWV 143 (1709–1711? For Council Election? By Bach?)
 * Singet dem Herrn ein neues Lied, BWV 190 (instrumental parts lost)
 * Jesu, nun sei gepreiset, BWV 41
 * Herr Gott, dich loben wir, BWV 16
 * Gott, wie dein Name, so ist auch dein Ruhm, BWV 171
 * Fallt mit Danken, fallt mit Loben, BWV 248IV (Christmas Oratorio Part IV, 1735)

New Year I
In some years, a Sunday falls between New Year's Day and Epiphany. It is known as the Sunday after New Year's Day or as the second Sunday of Christmas.

1 – First cycle, : 2 – Later addition to the chorale cantata cycle: 3 – Third cycle or "between the third and the fourth cycles", : 4 – Picander cycle, libretto planned for : 5 – Other and/or later:
 * Schau, lieber Gott, wie meine Feind, BWV 153
 * BWV 58, although not fully conforming to the chorale cantata format, was a later addition to the chorale cantata cycle (there hadn't been a Sunday between New Year and Epiphany in 1725).
 * Ach Gott, wie manches Herzeleid, BWV 58 (early version, incomplete)
 * Steh auf, mein Herz (no known setting by Bach)
 * BWV 58, later version: or  — although not fully conforming to the chorale cantata format this cantata was later added to the chorale cantata cycle.
 * Ehre sei dir, Gott, gesungen, BWV 248V (Christmas Oratorio Part V, )

Epiphany
1 – First cycle, 1724: 2 – Chorale cantata cycle, 1725: 4 – Picander cycle, libretto planned for 1729: 5 – Other and/or later:
 * Sie werden aus Saba alle kommen, BWV 65
 * Liebster Immanuel, Herzog der Frommen, BWV 123
 * Dieses ist der tag (no known setting by Bach)
 * Herr, wenn die stolzen Feinde schnauben, BWV 248VI (Christmas Oratorio Part VI, 1735)

After Epiphany
Depending on the date of Easter, a variable number (up to six) of Sundays occurred between Epiphany and Septuagesima, the third Sunday before Ash Wednesday.

Epiphany I
1 – First cycle, : 2 – Chorale cantata cycle, : 3 – Third cycle, : 4 – Picander cycle, libretto planned for : 5 – Other and/or later:
 * Mein liebster Jesus ist verloren, BWV 154
 * Meinen Jesum laß ich nicht, BWV 124
 * Liebster Jesu, mein Verlangen, BWV 32
 * Ich bin betrübt (no known setting by Bach)
 * Gedenke, Herr, wie es uns gehet, BWV 217 (very doubtful, possibly composed by Johann Christoph Altnickol)

Epiphany II
Composed before the numbered cycles: 1 – First year in Leipzig, : 2 – Chorale cantata cycle, : 3 – Third cycle, : 4 – Picander cycle, libretto planned for :
 * Mein Gott, wie lang, ach lange? BWV 155
 * BWV 155 restaged
 * Ach Gott, wie manches Herzeleid, BWV 3
 * Meine Seufzer, meine Tränen, BWV 13
 * Ich hab in mir ein fröhlich Herze (no known setting by Bach)

Epiphany III
1 – First cycle, : 2 – Chorale cantata cycle, : 3 – Third cycle, : 4 – Picander cycle, or : 5 – Other and/or later:
 * Herr, wie du willt, so schicks mit mir, BWV 73
 * Was mein Gott will, das g'scheh allzeit, BWV 111
 * Alles nur nach Gottes Willen, BWV 72
 * Ich steh mit einem Fuß im Grabe, BWV 156
 * BWV 73 restaged 1732–35 and 1748–49

Epiphany IV
1 – First cycle, : 2 – Chorale cantata cycle: 3 – Third year in Leipzig, : 4 – Picander cycle, libretto planned for : 5 – Other and/or later:
 * Jesus schläft, was soll ich hoffen? BWV 81
 * No Epiphany IV in 1725 – see below: Septuagesima
 * BWV 14 (see below) was later added to the chorale cantata cycle
 * Johann Ludwig Bach's Gott ist unser Zuversicht, JLB 1 (BDW )
 * Wie bist du doch in mir (no known setting by Bach)
 * Wär Gott nicht mit uns diese Zeit, BWV 14 (: latest of Bach's extant chorale cantatas, added to the chorale cantata cycle)

Epiphany V
There is no extant Bach-cantata for Epiphany V, nor for Epiphany VI, Sundays that did not occur every year. In Bach's first year in Leipzig the last Sunday before Pre-Lent was Epiphany IV. In his second year it had been Epiphany III (Bach's chorale cantata for Epiphany IV was composed a decade later, see above). In his third year in Leipzig the last Sunday before Pre-Lent was Epiphany V, on which occasion he staged a cantata by Johann Ludwig Bach. In the Picander cycle the last Sunday before Pre-Lent was also Epiphany V, but there is no extant cantata for that occasion in 1729.

3 – Third year in Leipzig, : 4 – Picander cycle, libretto planned for :
 * Johann Ludwig Bach's Der Gottlosen Arbeit, JLB 2 (BDW )
 * Erwache, du verschlaffnes Herze (no known setting by Bach)

Epiphany VI
Picander provided a libretto for the sixth Sunday after Epiphany in his 1728–29 cycle of cantata texts, although that Sunday did not occur in the liturgical year for which he wrote his cycle. Epiphany VI did not occur in any of the years Bach was composing his cantata cycles.

4 – Picander cycle, libretto for Epiphany VI:
 * Valet will ich dir geben (no known setting by Bach)

Pre-Lent
Pre-Lent comprises the three last Sundays before Lent.

Septuagesima
Septuagesima is the third Sunday before Ash Wednesday.

1 – First cycle, : 2 – Chorale cantata cycle, : 3 – Third year in Leipzig and "between the third and the fourth cycles": 4 – Picander cycle, libretto planned for : 5 – Other and/or later:
 * Nimm, was dein ist, und gehe hin, BWV 144
 * Ich hab in Gottes Herz und Sinn, BWV 92
 * Johann Ludwig Bach's Darum will ich auch erwählen, JLB 3 (, BDW )
 * Ich bin vergnügt mit meinem Glücke, BWV 84
 * Ich bin vergnügt mit meinem Stande (no known setting by Bach; around 1733–34 C. P. E. Bach set the three first movements of the libretto, see below)
 * Carl Philipp Emanuel Bach's Ich bin vergnügt mit meinem Stande (c. 1733–34: setting of the first three movements of the Septuagesima cantata libretto of the Picander cycle, BDW )

Sexagesima
Sexagesima is the second Sunday before Ash Wednesday.

Composed before the numbered cycles: 1 – First year in Leipzig, : 2 – Chorale cantata cycle, : 3 – Third year in Leipzig, : 4 – Picander cycle, libretto planned for : 5 – Other and/or later:
 * Gleichwie der Regen und Schnee vom Himmel fällt, BWV 18 (early version in G minor, Chorton: )
 * BWV 18 restaged in its Leipzig version (A minor, Kammerton)
 * Leichtgesinnte Flattergeister, BWV 181
 * Erhalt uns, Herr, bei deinem Wort, BWV 126
 * Johann Ludwig Bach's Darum säet euch Gerechtigkeit, JLB 4 (BDW )
 * Sey getreu biß in den Tod (no known setting by Bach)
 * BWV 181 restaged c. 1743–46

Estomihi
Composed before the numbered cycles: 1 – Audition and first cycle, (Leipzig audition for the post as Thomaskantor) and  (first cycle): 2 – Chorale cantata cycle, : 3 – Third year in Leipzig and "between the third and the fourth cycles": 4 – Picander cycle, : 5 – Other and/or later:
 * Du wahrer Gott und Davids Sohn, BWV 23 (1722–23, C minor, three movements)
 * Jesus nahm zu sich die Zwölfe, BWV 22
 * BWV 23 restaged in its first Leipzig version (B minor, four movements)
 * Herr Jesu Christ, wahr' Mensch und Gott, BWV 127
 * Johann Ludwig Bach's Ja, mir hast du Arbeit gemacht, JLB 5 (, BDW )
 * BWV 23 restaged 1728–31, in its final version (C minor, four movements)
 * Sehet, wir gehn hinauf gen Jerusalem, BWV 159
 * BWV 23, final version: this version was possibly premiered in 1730 or 1731, see above

Lent
During Lent, the Sundays between Ash Wednesday and Easter, "quiet time" was observed in Leipzig. Only the feast of Annunciation was celebrated with a cantata, even if it fell in that time. On Good Friday, a Passion was performed in Leipzig in a Vespers service.

Invocabit
4 – Picander cycle, libretto planned for :
 * Weg, mein Herz, mit den Gedanken (no known setting by Bach)

Reminiscere
4 – Picander cycle, libretto planned for :
 * Ich stürme den Himmel mit meinem Gebethe (no known setting by Bach)

Oculi
Composed before the numbered cycles: 4 – Picander cycle, libretto planned for :
 * Widerstehe doch der Sünde, BWV 54
 * Alles, was von Gott geboren, BWV 80a (music lost)
 * Schliesse dich, mein Herze zu (no known setting by Bach)

Laetare
4 – Picander cycle, libretto planned for :
 * Wer nur den lieben Gott läßt walten (no known setting by Bach)

Judica
4 – Picander cycle, libretto planned for :
 * Böse Welt, schmäh immerhin (no known setting by Bach)

Palm Sunday
The only two extant church cantatas Bach composed for Annunciation (see below) are also Palm Sunday cantatas. He composed one for this combined occasion in Weimar (BWV 182). In Leipzig Annunciation was the only occasion for which concerted music could be performed during Lent, apart from the Passion performed on Good Friday. When 25 March, the normal date for the feast of Annunciation, fell in Holy Week the feast for Annunciation was moved forward to Palm Sunday, which happened in 1728, the second time Bach restaged his Weimar cantata for the combined Annunciation and Palm Sunday occasion.

The other cantata Bach composed for the combined occasion was the last chorale cantata written in his second year in Leipzig, first performed on (BWV 1). In 1729, the Picander cycle year, Annunciation fell more than two weeks before Palm Sunday (10 April). Picander did not, however, provide a separate libretto for Palm Sunday in his 1728–29 cycle: he proposed to use the same libretto as for Advent I (see above). There is no extant setting of this libretto by Bach, nor of the separate Annunciation libretto.

Good Friday
Bach's Passion settings are not listed as cantatas, nor are such Passions usually included in cantata cycles. As an indication of which Passion was performed in the course of which cycle they are listed here:

Before Leipzig: 1 – First year in Leipzig, 2 – Second year in Leipzig, : 3 – Third to fifth year in Leipzig: 4 – Period of the Picander cycle, : 5 – Other and/or later:
 * "Keiser"'s St Mark Passion, version BC D 5a (early 1710s, with possibly a few movements added or arranged by Bach)
 * Weimarer Passion (, lost)
 * St John Passion, BWV 245, 1st version
 * St John Passion, 2nd version
 * "Keiser"'s St Mark Passion, version BC D 5b (, slight revision of BC D 5a)
 * St Matthew Passion, BWV 244b (on a libretto by Picander: possibly )
 * BWV 244b possibly premiere, or repeat performance
 * St Luke Passion, BWV 246 (by anonymous composer; ; revised version: )
 * St Mark Passion, BWV 247 (music lost; ; revised version: )
 * BWV 245 restaged probably (third version) and  (fourth version)
 * Gottfried Heinrich Stölzel's Ein Lämmlein geht und trägt die Schuld (23 March 1734)
 * St Matthew Passion, BWV 244, revised version of BWV 244b restaged ; next revision staged ; later revision(s) probably not staged during Bach's lifetime.
 * Georg Philipp Telemann's and Georg Frideric Handel's settings of the Brockes Passion libretto (some movements of the last one also in a pasticcio with movements of the "Keiser" St Mark Passion) and/or the Wer ist der, so von Edom kömmt pasticcio: late 1730s to 1740s.

Easter
The Easter season comprises the time up to Pentecost, starting with three days of Easter.

Easter Sunday
Composed before the numbered cycles: 1 – First year in Leipzig, : 2 – Second year in Leipzig and/or chorale cantata cycle, : 3 – third year in Leipzig, : 4 – Picander cycle, libretto planned for : 5 – Other and/or later:
 * Christ lag in Todes Banden, BWV 4 (early version probably ; chorale cantata)
 * Der Himmel lacht! Die Erde jubilieret, BWV 31 (Weimar version: )
 * BWV 4 restaged (Leipzig version)
 * BWV 31 restaged (Leipzig version)
 * BWV 4 restaged (expanded Leipzig version; adopted into the chorale cantata cycle)
 * Kommt, eilet und laufet, BWV 249 (first version of the Easter Oratorio, then still a cantata)
 * Johann Ludwig Bach's Denn du wirst meine Seele nicht in der Hölle lassen, JLB 21 (misattributed to as BWV 15)
 * Es hat überwunden der Löwe, der Held (no known setting by Bach)
 * BWV 31 restaged (, Leipzig version)
 * BWV 249 restaged several times (expanded into an Oratorio)
 * Georg Philipp Telemann's Ich weiß, daß mein Erlöser lebt, TWV 1:877 (composed 1725; misattributed to as BWV 160)
 * Auf, mein Herz! (or) So du mit deinem Munde bekennest Jesum, BWV 145 (Easter Tuesday cantata Ich lebe, mein Herze, zu deinem Ergötzen, BWV 145, converted to a cantata for Easter Sunday by adding two preceding movements, one of which, i.e. the opening movement of TWV 1:1350, was composed by Telemann: it is unlikely that this pasticcio was realised by Bach; BDW )

Easter Monday
1 – First cantata cycle, : 2 – Second cantata cycle, : 3 – Third year in Leipzig, : 4 – Picander cycle, libretto planned for : 5 – Other and/or later:
 * Erfreut euch, ihr Herzen, BWV 66
 * Bleib bei uns, denn es will Abend werden, BWV 6
 * Johann Ludwig Bach's Er ist aus der Angst und Gericht genommen, JLB 10 (BDW )
 * Ich bin ein Pilgrim auf der Welt (fragment of a setting of this libretto by or  is known as BWV Anh. 190, BDW )
 * BWV 6 restaged (perhaps already, and at least two further undated performances)
 * BWV 66 restaged ( and )

Easter Tuesday
1 – First cantata cycle, : 2 – Second cantata cycle, : 3 – Third year in Leipzig, : 4 – Picander cycle, libretto planned for : 5 – Other and/or later:
 * Ein Herz, das seinen Jesum lebend weiß, BWV 134
 * BWV 158? – dating of the cantata is uncertain (see below). Despite its brevity (four movements) the cantata appears as a pasticcio involving two movements of an earlier (Weimar?) cantata for Purification. Its two outer movements fit it to the Eastertide occasion: the text for the first movement is based on the gospel reading for Easter Tuesday, and its last movement sets a stanza of Luther's Easter hymn "Christ lag in Todes Banden", echoing the chorale cantata based on that hymn which was performed at Easter 1724 and 1725.
 * Johann Ludwig Bach's Er machet uns lebendig, JLB 11 (BDW )
 * Ich lebe, mein Herze, zu deinem Ergötzen, BWV 145 (sets Picander's libretto in 5 movements: for the pasticcio version of this cantata expanded by two preceding movements, see above )
 * Der Friede sei mit dir, BWV 158 (c. 1730?; incomplete?)
 * BWV 134 restaged, and probably also

Easter I
The Sundays between Easter and Pentecost have Latin names, derived from the beginning of the prescribed readings. The first Sunday after Easter is called Quasimodogeniti. Some sources name the Sunday after Easter the second Sunday in Easter, counting Easter Sunday as the first.

1 – First cantata cycle, : 2 – Second cantata cycle, : 3 – Third year in Leipzig, : 4 – Picander cycle, libretto planned for : 5 – Other and/or later:
 * Halt im Gedächtnis Jesum Christ, BWV 67
 * Am Abend aber desselbigen Sabbats, BWV 42
 * An abandoned sketch of seven bars, BWV deest, BC A64, is possibly Bach's first attempt to compose a cantata for this Sunday (BDW ).
 * Johann Ludwig Bach's Wie lieblich sind auf den Bergen, JLB 6 (BDW )
 * Welt, behalte du das deine (no known setting by Bach)
 * BWV 42 restaged

Easter II
The second Sunday after Easter is called Misericordias Domini.

1 – First cantata cycle, : 2 – Second year cycle and/or chorale cantata cycle: 3 – Third year in Leipzig, : 4 – Picander cycle, libretto planned for : 5 – Other and/or later:
 * Du Hirte Israel, höre, BWV 104
 * Ich bin ein guter Hirt, BWV 85 (, premiered in Bach's second year in Leipzig)
 * BWV 112 (see below) later added to chorale cantata cycle
 * Johann Ludwig Bach's Und ich will ihnen einen einigen Hirten, JLB 12 (BDW )
 * Ich kan mich besser nicht versorgen (no known setting by Bach)
 * Der Herr ist mein getreuer Hirt, BWV 112 (chorale cantata, → chorale cantata cycle)

Easter III
The third Sunday after Easter is called Jubilate.

Composed before the numbered cycles: 1 – First year in Leipzig, : 2 – Second year cycle, : 3 – Third year in Leipzig, : 4 – Picander cycle, libretto planned for : 5 – Other and/or later:
 * Weinen, Klagen, Sorgen, Zagen, BWV 12 (, Weimar)
 * BWV 12 restaged in a version with a slightly modified instrumentation
 * Ihr werdet weinen und heulen, BWV 103 ( libretto)
 * Wir müssen durch viel Trübsal, BWV 146 (or: ?)
 * Johann Ludwig Bach's Die mit Tränen säen, JLB 8 (BDW )
 * Faße dich betrübter Sinn (no known setting by Bach)
 * BWV 103 restaged probably

Easter IV
The fourth Sunday after Easter is called Cantate.

Composed before the numbered cycles: 1 – First cantata cycle, : 2 – Second year cycle, : 3 – Third year in Leipzig, : 4 – Picander cycle, libretto planned for :
 * Leb ich, oder leb ich nicht, BWV Anh. 191 (music lost, extant libretto by Salomon Franck published Weimar 1715; BDW )
 * Wo gehest du hin? BWV 166
 * Es ist euch gut, daß ich hingehe, BWV 108 ( libretto)
 * Johann Ludwig Bach's Die Weisheit kömmt nicht, JLB 14 (BDW )
 * Ja! Ja! Ich bin nun ganz verlassen (no known setting by Bach)

Easter V
The fifth Sunday after Easter is called Rogate.

1 – First cantata cycle, : 2 – Second year cycle, : 4 – Picander cycle, libretto planned for :
 * Wahrlich, wahrlich, ich sage euch, BWV BWV 86
 * Bisher habt ihr nichts gebeten in meinem Namen, BWV 87 (based on a libretto)
 * Ich Schreye laut mit meiner Stimme (no known setting by Bach)

Ascension
1 – First cantata cycle, : 2 – Second year cycle, : 3 – Third cantata cycle, : 4 – Picander cycle, libretto planned for : 5 – Other and/or later:
 * Wer da gläubet und getauft wird, BWV 37
 * Auf Christi Himmelfahrt allein, BWV 128 ( libretto)
 * Gott fähret auf mit Jauchzen, BWV 43
 * Alles, alles Himmel-werts (no known setting by Bach)
 * Lobet Gott in seinen Reichen, BWV 11 (?, Ascension Oratorio)

Ascension I
The Sunday after Ascension is called Exaudi.

1 – First cycle, : 2 – Second cycle, : 4 – Picander cycle, libretto planned for :
 * Sie werden euch in den Bann tun, BWV 44
 * Sie werden euch in den Bann tun, BWV 183 ( libretto)
 * Quäle dich nur nicht, mein Herz (no known setting by Bach)

Pentecost to Trinity
Leipzig publications with the text of the cantatas for the four occasions from Pentecost to Trinity are extant for 1727 and 1731.

Pentecost Sunday
Pentecost Sunday (1. Pfingsttag) is also called Whit Sunday.

Composed before the numbered cycles: 1 – First year in Leipzig, : 2 – Second cycle, : 3 – "Between the third and the fourth cycles": 4 – Picander cycle, libretto planned for : 5 – Other and/or later:
 * Erschallet, ihr Lieder, erklinget, ihr Saiten! BWV 172 (Weimar version in C major: )
 * BWV 172 restaged in its first Leipzig version (D major)
 * Wer mich liebet, der wird mein Wort halten, BWV 59
 * Wer mich liebet, der wird mein Wort halten, BWV 74 ( libretto)
 * O ewiges Feuer, o Ursprung der Liebe, BWV 34
 * Raset und brauset ihr hefftigen Winde (no known setting by Bach, however in 1740 Johann Friedrich Doles, then a student of Bach, produced a setting of this libretto, see below)
 * BWV 59 and BWV 172 (second Leipzig version in C major) restaged
 * Johann Friedrich Doles' Raset und brauset ihr hefftigen Winde (on a libretto of the Picander cycle, composed and possibly performed in Leipzig in 1740)
 * BWV 34 restaged on in Halle (start of W. F. Bach's tenure there)
 * Georg Philipp Telemann's Gott der Hoffnung erfülle euch, TWV 1:634, spuriously attributed to as BWV 218.

Pentecost Monday
Pentecost Monday (2. Pfingsttag) is also called Whit Monday.

2 – Second cycle, : 3 – "Between the third and the fourth cycles": 4 – Picander cycle, : 5 – Other and/or later:
 * Also hat Gott die Welt geliebt, BWV 68 ( libretto)
 * Erhöhtes Fleisch und Blut, BWV 173
 * Ich liebe den Höchsten von ganzem Gemüte, BWV 174
 * BWV 173 restaged

Pentecost Tuesday
Pentecost Tuesday (3. Pfingsttag) is also called Whit Tuesday.

1 – First cycle, : 2 – Second cycle, : 3 – "Between the third and the fourth cycles": 4 – Picander cycle, libretto planned for : 5 – Other and/or later:
 * Erwünschtes Freudenlicht, BWV 184
 * Er rufet seinen Schafen mit Namen, BWV 175 ( libretto)
 * BWV 184 restaged
 * Ich klopff an deine Gnaden-Thüre (no known setting by Bach)
 * BWV 184 restaged

Trinity
On Trinity Sunday, the Sunday after Pentecost, the Trinity is celebrated.

Composed before the numbered cycles: 1 – First year in Leipzig, : 2 – Second cycle and chorale cantata cycle: 3 – Third year in Leipzig and "Between the third and the fourth cycles": 4 – Picander cycle, libretto planned for : 5 – Other and/or later:
 * O heilges Geist- und Wasserbad, BWV 165
 * BWV 194, originally a 1723 consecration cantata (see below), restaged in its first Leipzig version
 * Es ist ein trotzig und verzagt Ding, BWV 176 (last of the extant cantatas on a libretto)
 * BWV 129 (see below) later added to chorale cantata cycle
 * BWV 194, second Leipzig version with the movements in a different order, restaged
 * Gelobet sei der Herr, mein Gott, BWV 129 (, chorale cantata added to the chorale cantata cycle)
 * Gott will mich in den Himmel haben (no known setting by Bach)
 * Nun danket alle Gott, BWV 192 (, probably not in Leipzig)
 * BWV 194, first Leipzig version, restaged
 * BWV 176 re-staged around 1749

Sundays after Trinity
A variable number of Sundays, up to 27 if Easter is extremely early, occurs between Trinity and the next liturgical year, which starts with the first Sunday of Advent.

Bach's first two Leipzig cantata cycles start on the first Sunday after Trinity: it was the first occasion of his tenure as Thomaskantor (: BWV 75), and the next year he composed the first cantata of his chorale cantata cycle for this occasion (: BWV 20).

After his cantata for Trinity 1725 (BWV 176, see above), which concluded his second year in Leipzig, there are however no extant cantatas before BWV 168 for the ninth Sunday after Trinity, considered the first cantata of the third cycle. For the first Sunday after Trinity 1726 he composed BWV 39, considered as a later addition to the third cycle.

The incomplete fourth cycle was supposed to start on St. John's Day, followed by a cantata for the fifth Sunday after Trinity on , at least as far as the first print of Picander's libretto of this cycle is concerned. Bach's oldest extant setting of a libretto of this cycle is however a cantata for the 21st Sunday after Trinity,, and when the cycle's librettos were printed for the second time in 1732 Picander indicated 1729 as the year of the cycle.

The elusive fifth cycle has an even less clear start. It is not known which cantatas exactly belonged to this cycle: it may have been a collection of cantatas written before Bach's Leipzig time that were not otherwise added to one of the other numbered cycles, and of cantatas written at a later date.

Trinity I
1 – First cycle, : 2 – Chorale cantata cycle, : 3 – Third cycle: 4 – Picander cycle, libretto planned for :
 * Die Elenden sollen essen, BWV 75
 * O Ewigkeit, du Donnerwort, BWV 20
 * Brich dem Hungrigen dein Brot, BWV 39
 * Welt, dein Purpur stinckt mich an (no known setting by Bach)

Trinity II
1 – First cycle, : 2 – Chorale cantata cycle, : 3 – Third year in Leipzig, : 4 – Picander cycle, libretto planned for : 5 – Other and/or later:
 * Die Himmel erzählen die Ehre Gottes, BWV 76 (in two parts)
 * Ach Gott, vom Himmel sieh darein, BWV 2
 * BWV 76, part II, restaged (or: in 1725)
 * BWV 76, part II, restaged (or: in 1724)
 * Kommt, eilet, ihr Gäste, zum seligen Mahle (no known setting by Bach)
 * BWV 76, part I, possibly restaged after 1740 on Reformation Day

Trinity III
Composed before the numbered cycles: 1 – First year in Leipzig, : 2 – Chorale cantata cycle, : 3 – Third year in Leipzig, : 4 – Picander cycle, libretto planned for :
 * Ich hatte viel Bekümmernis, BWV 21 (C minor, Weimar: ; D minor, Köthen/Hamburg: 1720)
 * BWV 21 restaged (third version in C minor)
 * Ach Herr, mich armen Sünder, BWV 135
 * BDW 1669: Johannes Agricola's chorale "Ich ruf zu dir, Herr Jesu Christ" was published in Leipzig as the text for the cantata performed on Trinity III 1725. As it is the same text that was used for the Trinity IV cantata BWV 177 (see below) it may have been an early version of that cantata. Alternatively the 1725 publication may refer to a setting by someone else, e.g., Telemann (BDW )
 * Wohin? mein Herz (no known setting by Bach)

Trinity IV
Composed before the numbered cycles: 1 – First year in Leipzig, : 2 – Chorale cantata cycle: 3 – Third year in Leipzig, : 4 – Picander cycle, libretto planned for : 5 – Other and/or later:
 * Barmherziges Herze der ewigen Liebe, BWV 185
 * BWV 185 restaged
 * Ein ungefärbt Gemüte, BWV 24
 * BWV 10: in 1724 Trinity IV fell on 2 July, and thus coincided with the Feast of the Visitation (see below)
 * BWV 177 later added to the chorale cantata cycle as Trinity IV cantata (see below)
 * BDW 1673: In 1725 Trinity IV fell on 24 June, and thus coincided with St. John's Day (see below)
 * Laß sie spotten, laß sie lachen (no known setting by Bach)
 * Ich ruf zu dir, Herr Jesu Christ, BWV 177 (: chorale cantata, added to the chorale cantata cycle – libretto published in 1725 for Trinity III, see above)
 * BWV 185 restaged around

Trinity V
2 – Chorale cantata cycle, : 3 – Third and fourth year in Leipzig: 4 – Picander cycle, libretto planned for : 5 – Other and/or later:
 * Wer nur den lieben Gott läßt walten, BWV 93
 * Der Segen des Herrn machet reich ohne Mühe, BNB II/An/2 (, music lost, not necessarily composed by Bach – also Telemann suggested as possible composer, BDW 11069)
 * Siehe, ich will viel Fischer aussenden, BWV 88
 * In allen meinen thaten (no known setting by Bach)
 * BWV 93 restaged 1732–33

Trinity VI
2 – Chorale cantata cycle: 3 – Third and fourth year in Leipzig: 4 – Picander cycle, libretto planned for : 5 – Other and/or later:
 * BWV 9 later added to the chorale cantata cycle (see below)
 * Wer sich rächet, an dem wird sich der Herr wieder rächen, BNB II/An/10 (, music lost, not necessarily composed by Bach – also Telemann suggested as possible composer, BDW )
 * Vergnügte Ruh, beliebte Seelenlust, BWV 170
 * Johann Ludwig Bach's Ich will meinen Geist, JLB 7 (, BDW )
 * Gott, gieb mir ein versöhnlich Herze (no known setting by Bach)
 * Es ist das Heil uns kommen her, BWV 9 : chorale cantata, added to the chorale cantata cycle)

Trinity VII
1 – First cycle, : 2 – Chorale cantata cycle, : 3 – Third and fourth year in Leipzig: 4 – Picander cycle, libretto planned for : 5 – Other and/or later:
 * Ärgre dich, o Seele, nicht, BWV 186 (adapted from BWV 186a for Advent III, see above)
 * Was willst du dich betrüben, BWV 107
 * Gesegnet ist die Zuversicht, BWV Anh. 1 (probably ; probably identical to Telemann's TWV 1:617 or 616)
 * Es wartet alles auf dich, BWV 187
 * Ach Gott! ich bin von dir (no known setting by Bach)
 * Liebster Gott, vergisst du mich, BWV Anh. 209 (before when it was combined with BWV 157; The cantata's music, probably by Bach, is lost)

Trinity VIII
1 – First cycle, : 2 – Chorale cantata cycle, : 3 – Third cycle: 4 – Picander cycle, libretto planned for :
 * Erforsche mich, Gott, und erfahre mein Herz, BWV 136
 * Wo Gott der Herr nicht bei uns hält, BWV 178
 * Es ist dir gesagt, Mensch, was gut ist, BWV 45
 * Herr, stärcke meinen schwachen Glauben (no known setting by Bach)

Trinity IX
1 – First cycle, : 2 – Chorale cantata cycle, : 3 – Third cycle, : 4 – Picander cycle, libretto planned for : 5 – Other and/or later:
 * Herr, gehe nicht ins Gericht mit deinem Knecht, BWV 105
 * Was frag ich nach der Welt, BWV 94
 * Tue Rechnung! Donnerwort, BWV 168
 * Mein Jesu, was meine (no known setting by Bach)
 * BWV 94 probably restaged 1732–35
 * BWV 168 presumably restaged after 1745

Trinity X
1 – First cycle, : 2 – Chorale cantata cycle, : 3 – Third cycle: 4 – Picander cycle, libretto planned for :
 * Schauet doch und sehet, ob irgend ein Schmerz sei, BWV 46
 * Nimm von uns, Herr, du treuer Gott, BWV 101
 * Herr, deine Augen sehen nach dem Glauben, BWV 102
 * Laßt meine Thränen euch bewegen (no known setting by Bach)

Trinity XI
Composed before the numbered cycles: 1 – First cycle, : 2 – Chorale cantata cycle, : 3 – Between the second and the fourth cycle: 4 – Picander cycle, libretto planned for :
 * Mein Herze schwimmt im Blut, BWV 199 (: Weimar version in C minor; restaged in Köthen in a version in D minor)
 * BWV 199 restaged (Leipzig version in D minor)
 * Siehe zu, daß deine Gottesfurcht nicht Heuchelei sei, BWV 179
 * Herr Jesu Christ, du höchstes Gut, BWV 113
 * Johann Ludwig Bach's Durch sein Erkenntnis, JLB 15 (, BDW )
 * Ich scheue mich (no known setting by Bach)

Trinity XII
1 – First cycle, : 2 – Chorale cantata cycle: 3 – Between the second and the fourth cycle: 4 – Picander cycle, libretto planned for :
 * Lobe den Herrn, meine Seele, BWV 69a
 * BWV 137 later added to the chorale cantata cycle
 * Lobe den Herren, den mächtigen König der Ehren, BWV 137 (, chorale cantata added to the chorale cantata cycle)
 * Geist und Seele wird verwirret, BWV 35 (, generally seen as a third cycle cantata)
 * BWV 69a restaged around 1727
 * Ich bin wie einer, der nicht höret (no known setting by Bach)

Trinity XIII
1 – First cycle, : 2 – Chorale cantata cycle, : 3 – Between the second and the fourth cycle: 4 – Picander cycle, libretto planned for :
 * Du sollt Gott, deinen Herren, lieben, BWV 77
 * Allein zu dir, Herr Jesu Christ, BWV 33
 * Ihr, die ihr euch von Christo nennet, BWV 164
 * Johann Ludwig Bach's Ich aber ging für dir über, JLB 16 (, BDW )
 * Können meine nasse Wangen (no known setting by Bach)

Trinity XIV
1 – First cycle, : 2 – Chorale cantata cycle, : 3 – Third cycle, : 4 – Picander cycle, libretto planned for : 5 – Other and/or later:
 * Es ist nichts Gesundes an meinem Leibe, BWV 25
 * Jesu, der du meine Seele, BWV 78
 * Wer Dank opfert, der preiset mich, BWV 17
 * Schöpffer aller Dinge (no known setting by Bach)
 * BWV 78 restaged after 1735

Trinity XV
1 – First cycle, : 2 – Chorale cantata cycle, : 4 – Picander cycle, libretto planned for : 5 – Other and/or later:
 * Warum betrübst du dich, mein Herz, BWV 138
 * Was Gott tut, das ist wohlgetan, BWV 99
 * Arm, und dennoch frölich seyn (no known setting by Bach)
 * Jauchzet Gott in allen Landen, BWV 51

Trinity XVI
Composed before the numbered cycles: 1 – First cycle, : 2 – Chorale cantata cycle, : 3 – Third cycle, : 4 – Picander cycle, libretto planned for : 5 – Other and/or later:
 * Komm, du süße Todesstunde, BWV 161
 * Christus, der ist mein Leben, BWV 95
 * Liebster Gott, wenn werd ich sterben? BWV 8 (first version in E major)
 * Wer weiß, wie nahe mir mein Ende? BWV 27
 * Schließet euch, ihr müden Augen (no known setting by Bach)
 * BWV 161 from around 1735 recast as a cantata for Purification (see below); a second version of BWV 161 is possibly not by Bach
 * BWV 8 restaged (second version in D major)

Trinity XVII
1 – First cycle, : 2 – Chorale cantata cycle, : 3 – Third cycle, : 4 – Picander cycle, libretto planned for :
 * Bringet dem Herrn Ehre seines Namens, BWV 148
 * Ach, lieben Christen, seid getrost, BWV 114
 * Wer sich selbst erhöhet, der soll erniedriget werden, BWV 47
 * Stolz und Pracht (no known setting by Bach)

Trinity XVIII
2 – Chorale cantata cycle, : 3 – Third cycle, : 4 – Picander cycle, libretto planned for : 5 – Other and/or later:
 * Herr Christ, der einge Gottessohn, BWV 96
 * Gott soll allein mein Herze haben, BWV 169
 * Ich liebe Gott vor allen Dingen (no known setting by Bach)
 * BWV 96 restaged and

Trinity XIX
1 – First cycle, : 2 – Chorale cantata cycle, : 3 – Third cycle, : 4 – Picander cycle, libretto planned for :
 * Ich elender Mensch, wer wird mich erlösen, BWV BWV 48
 * Wo soll ich fliehen hin, BWV BWV 5
 * Ich will den Kreuzstab gerne tragen, BWV 56
 * Gott, du Richter der Gedanken (BWV Anh. 2 may be the start of a 1729 abandoned setting of this libretto)

Trinity XX
Composed before the numbered cycles: 1 – First year in Leipzig, : 2 – Chorale cantata cycle, : 3 – Third cycle, : 4 – Picander cycle, libretto planned for :
 * Ach! ich sehe, itzt, da ich zur Hochzeit gehe, BWV 162
 * BWV 162 restaged
 * Schmücke dich, o liebe Seele, BWV 180
 * Ich geh und suche mit Verlangen, BWV 49
 * Ach ruffe mich bald (no known setting by Bach)

Trinity XXI
1 – First cycle, : 2 – Chorale cantata cycle, : 3 – Third cycle, : 4 – Picander cycle, :
 * Ich glaube, lieber Herr, hilf meinem Unglauben, BWV 109
 * Aus tiefer Not schrei ich zu dir, BWV 38
 * Was Gott tut, das ist wohlgetan, BWV 98
 * Ich habe meine Zuversicht, BWV 188

Trinity XXII
1 – First cycle, : 2 – Chorale cantata cycle, : 3 – Third cycle, : 4 – Picander cycle, libretto planned for :
 * Was soll ich aus dir machen, Ephraim, BWV 89
 * Mache dich, mein Geist, bereit, BWV 115
 * Ich armer Mensch, ich Sündenknecht, BWV 55 (two versions, so is probably not the only date)
 * Gedult, mein Gott, Gedult (no known setting by Bach)

Trinity XXIII
Composed before the numbered cycles: 1 – First year in Leipzig, (=Reformation Day, see below): 2 – Chorale cantata cycle, : 3 – Third cycle, : 4 – Picander cycle, libretto planned for (i.e. Reformation Day, see below): 5 – Other and/or later:
 * Nur jedem das Seine, BWV 163
 * BWV 163 possibly restaged
 * Wohl dem, der sich auf seinen Gott, BWV 139
 * Falsche Welt, dir trau ich nicht, BWV 52
 * Schnöde Schönheit dieser Welt (no known setting by Bach)
 * BWV 139 restaged around 1744–47

Trinity XXIV
1 – First cycle, : 2 – Chorale cantata cycle, : 4 – Picander cycle, libretto planned for :
 * O Ewigkeit, du Donnerwort, BWV 60
 * Ach wie flüchtig, ach wie nichtig, BWV 26 (chorale cantata, )
 * Küsse mein Herze, mit Freuden die Ruthe (no known setting by Bach)

Trinity XXV
1 – First cycle, : 2 – Chorale cantata cycle, : 4 – Picander cycle, libretto planned for :
 * Es reißet euch ein schrecklich Ende, BWV 90
 * Du Friedefürst, Herr Jesu Christ, BWV 116
 * Eile, rette deine Seele (no known setting by Bach)

Trinity XXVI
1 – First cycle, : 4 – Picander cycle, libretto planned for :
 * Wachet! betet! betet! wachet! BWV 70 (adapted from a Weimar Advent II cantata, see above)
 * Kömmt denn nicht mein Jesus bald? (no known setting by Bach)

Trinity XXVII
2 – Chorale cantata cycle 5 – Other and/or later:
 * BWV 140 is a later addition to the chorale cantata cycle
 * Wachet auf, ruft uns die Stimme, BWV 140 (, chorale cantata added to the chorale cantata cycle)

Purification
The Purification of Mary (Mariae Reinigung) and the Presentation of Jesus at the Temple are celebrated on 2 February.

1 – First year in Leipzig, 1724: 2 – Chorale cantata cycle, 1725: 3 – Between the second and the fourth cycle: 4 – Picander cycle, libretto planned for 1729: 5 – Other and/or later:
 * Erfreute Zeit im neuen Bunde, BWV 83
 * Mit Fried und Freud ich fahr dahin, BWV 125
 * Johann Ludwig Bach's Mache dich auf, werde licht, JLB 9 (1726, BDW )
 * Ich habe genug, BWV 82 (first version in C minor: 1727)
 * BWV 83 probably restaged 1727
 * Herr, nun lässest du deinen Diener in Friede fahren (no known setting by Bach)
 * BWV 82 (second version in E minor: 1731; two further versions in C minor)
 * BWV 161: used to be a Trinity XVI cantata (see above): from around 1735 restaged as Purification cantata
 * BWV 125 restaged after 1735
 * BWV 157, originally a funeral cantata (see below), was later restaged as cantata for Purification
 * BWV 158, surviving in a version for Easter Tuesday (see above), may, at least for its two inner movements, be based on a cantata for Purification
 * Johann Ernst Bach II's Mein Odem ist schwach (misattributed to J. S. Bach as BWV 222; BDW )
 * Georg Philipp Telemann's Ich habe Lust abzuscheiden, TWV 1:836 (1724; misattributed to Bach as BWV Anh. 157, BDW )

Annunciation
The Annunciation (Mariae Verkündigung) is celebrated on 25 March, or (in Leipzig) on Palm Sunday when 25 March falls in Holy Week (see above). Bach's only extant Annunciation cantatas were composed in years when Annunciation coincided with Palm Sunday.

Composed before the numbered cycles: 1 – First year in Leipzig, Palm Sunday : 2 – Chorale cantata cycle, Palm Sunday : 3 – "Between the second and the fourth cycle": 4 – Picander cycle, libretto planned for : 5 – Other and/or later:
 * Himmelskönig, sei willkommen, BWV 182 (performed on Palm Sunday )
 * BWV 182 restaged
 * Siehe eine Jungfrau ist schwanger, BWV Anh. 199 (music lost, BDW )
 * Wie schön leuchtet der Morgenstern, BWV 1
 * BWV 182 restaged on Palm Sunday
 * Der Herr ist mit mir, darum fürchte ich mich nicht (no known setting by Bach)
 * Georg Philipp Telemann's Herr Christ der ein'ge Gottessohn, TWV 1:732, was misattributed to Bach as BWV Anh. 156 (BDW )

St. John's Day
The Feast of John the Baptist (Johannistag), remembering the birth of John the Baptist, is celebrated on 24 June.

1 – First cantata cycle, 1723: 2 – Chorale cantata cycle, 1724: 3 – Third year in Leipzig: 4 – Picander cycle, libretto planned for 1728: 5 – Other and/or later:
 * Ihr Menschen, rühmet Gottes Liebe, BWV 167
 * Christ unser Herr zum Jordan kam, BWV 7
 * Erdmann Neumeister's 1711 cantata libretto Gelobet sei der Herr, der Gott Israel was printed in 1725 in Leipzig as the text of the cantata performed on that day: whoever set the libretto (Bach? Telemann?), no composition is extant (BDW )
 * Johann Ludwig Bach's Siehe, ich will meinen Engel senden, JLB 17 (1726, BDW )
 * Gelobet sey der Herr (first libretto in the original 1728 print of the cycle; no known setting by Bach)
 * Freue dich, erlöste Schar, BWV 30 (1738)
 * Lobt ihn mit Herz und Munde, BWV 220 (unknown composer)
 * Johann Gottlieb Goldberg's Durch die herzliche Barmherzigkeit (1745–46, continuo part copied by Bach who was presumably Goldberg's teacher at the time; BDW )

Visitation
Visitation, the visit of Mary with Elizabeth, including her song of praise, the Magnificat, is celebrated on 2 July.

1 – First cantata cycle, 1723: 2 – Chorale cantata cycle, 1724: 3 – Between second and fourth cycle: 4 – Picander cycle, libretto planned for 1728: 5 – Other and/or later:
 * Herz und Mund und Tat und Leben, BWV 147 (adaptation of BWV 147a, a Weimar cantata for Advent IV, see above)
 * Magnificat, BWV 243a (early version without Christmas interpolations possibly first performed on )
 * Meine Seel erhebt den Herren, BWV 10
 * Meine Seele erhebet den Herrn (1725, cantata text by an unknown librettist without extant composition by Bach, BDW )
 * Johann Ludwig Bach's Der Herr wird ein Neues im Lande, JLB 13 (1726, BDW )
 * Meine Seele erhebt den Herrn (no known setting by Bach)
 * Magnificat, BWV 243 (D major version: )
 * Melchior Hoffmann's Meine Seele rühmt und preist, BWV 189 (BDW ) and Meine Seel erhebt den Herren, BWV Anh. 21 (a.k.a. Kleine Magnificat, BDW )

St. Michael's Day
St. Michael's Day, i.e. Michaelmas (German: Michaelis), is celebrated on 29 September.

2 – Chorale cantata cycle, 1724: 3 – Third cycle, 1726: 4 – Picander cycle, libretto originally planned for 1728, setting(s) 1729: 5 – Other and/or later:
 * Herr Gott, dich loben alle wir, BWV 130
 * Es erhub sich ein Streit, BWV 19
 * Concerto, BWV 149/1a (previously known as BWV Anh. 198): opening movement of a cantata, considered to be the abandoned start of a setting of this libretto
 * Man singet mit Freuden vom Sieg, BWV 149
 * BWV 130 restaged with a slightly modified instrumentation
 * BWV 248 VI a (also indicated as BWV 248a) is a fragment of a nameless Michaeliskantate (Michaelmas cantata), likely first performed in 1734, shortly before its music was almost entirely adopted in the last part of the Christmas Oratorio (BWV 248 VI)
 * Nun ist das Heil und die Kraft, BWV 50 (year and purpose unknown: movement of an incomplete or lost cantata, possibly for Michaelmas)
 * Georg Philipp Telemann's Siehe, es hat überwunden der Löwe, TWV 1:1328 (misattributed to Bach as BWV 219)

Reformation Day
Reformation Day is celebrated on 31 October.

1 – First cycle, 1723: 2 – Chorale cantata cycle: 3 – Third cycle, 1725: 4 – Picander cycle: 5 – Other and/or later:
 * Early version of BWV 80/80b?
 * BWV 80 is a later addition to the chorale cantata cycle
 * Gott der Herr ist Sonn und Schild, BWV 79
 * In 1728 Reformation Day coincided with Trinity XXIII (see above)
 * Ein feste Burg ist unser Gott, BWV 80 and early version 80b (c. 1727–31 and later; chorale cantata later added to the chorale cantata cycle)
 * BWV 129 no longer associated with Reformation Day.

Consecration of church and organ

 * , the new Jerusalem
 * , conversion of Zacchaeus


 * Höchsterwünschtes Freudenfest, BWV 194, 2 November 1723 (consecration of Störmthal church and organ, adapted from BWV 194a, also Trinity Sunday)

New council
The election or inauguration of a new town council was celebrated with a service. Normally this was an annual event. The cantata written for such celebrations were indicated with the term Ratswechsel (changing of the council) or Ratswahl (election of the council).
 * In Mühlhausen the celebration was held on 4 February:
 * 1708: Gott ist mein König, BWV 71 – Bach's first printed work.
 * 1709: second Ratswahl cantata for Mühlhausen, BWV 1138.1 (formerly BWV Anh. 192) – lost.
 * 1710: third Ratswahl cantata for Mühlhausen, BWV 1138.2 – lost.
 * In Leipzig the service was held at the Nikolaikirche on the Monday following Bartholomew (Bartholomäus), 24 August:
 * Preise, Jerusalem, den Herrn, BWV 119, 30 August 1723
 * Wünschet Jerusalem Glück, BWV 1139.1 (formerly BWV Anh. 4), 27 August 1725 (reused 28 August 1741, only Picander's text extant)
 * Ihr Tore zu Zion, BWV 193 (= BWV 193.2), 25 August 1727
 * Gott, man lobet dich in der Stille, BWV 120 (= BWV 120.1), 1729 or earlier
 * Gott, gib dein Gerichte dem Könige, BWV 1140 (formerly BWV Anh. 3), 28 August 1730 (only Picander's text extant)
 * Wir danken dir, Gott, wir danken dir, BWV 29, 27 August 1731 (reused 31 August 1739 and 24 August 1749)
 * BWV 137 (chorale cantata for Trinity XII, see above): "A performance on 25.8.1732 (Spitta II, p. 286f. and others) on the occasion of inauguration of the new city council is not proved."
 * Herrscher des Himmels, König der Ehren, BWV 1141 (formerly BWV Anh. 193), 28 August 1740 (only text extant)
 * Lobe den Herrn, meine Seele, BWV 69 (= BWV 69.2), 26 August 1748 (adapted from BWV 69a = BWV 69.1)

Wedding

 * Der Herr denket an uns, BWV 196, 5 June 1708?
 * Sein Segen fließt daher wie ein Strom, BWV Anh. 14, 12 February 1725 (lost)
 * Auf, süß entzückende Gewalt, BWV Anh. 196, 27 November 1725 (music lost)
 * O ewiges Feuer, o Ursprung der Liebe, BWV 34a, 1726 (partly lost, probably for a wedding)
 * Dem Gerechten muß das Licht, BWV 195, 1727–31?
 * Der Herr ist freundlich dem, der auf ihn harret, BWV Anh. 211 18 January 1729 (music lost)
 * Vergnügende Flammen, verdoppelt die Macht, BWV Anh. 212, 26 July 1729 (music lost)
 * Herr Gott, Beherrscher aller Dinge, BWV 120a, 18 April 1729? (adapted from BWV 120, partly lost)
 * Gott ist unsre Zuversicht, BWV 197, 1736/37 (partly based on 197a)

Funeral

 * Gottes Zeit ist die allerbeste Zeit, BWV 106 (Actus tragicus), 1708? (funeral)
 * Ich lasse dich nicht, du segnest mich denn, BWV 157, 6 February 1727 (funeral, also Purification)
 * Laß, Fürstin, laß noch einen Strahl, BWV 198, 17 October 1727 (secular, funeral)
 * Klagt, Kinder, klagt es aller Welt, BWV 244a, 24 March 1729 (music lost, related to the St Matthew Passion, funeral of Prince Leopold of Anhalt-Köthen)
 * O Jesu Christ, meins Lebens Licht, BWV 118, c. 1736/1737 (funeral procession)

Different occasions

 * Nach dir, Herr, verlanget mich, BWV 150, ?before 1707 (Bußgottesdienst [Confession Service])
 * Aus der Tiefen rufe ich, Herr, zu dir, BWV 131, 1707 (Bußgottesdienst [Confession service])
 * Sei Lob und Ehr dem höchsten Gut, BWV 117, c. 1728–1731 (use unknown)
 * Gott, man lobet dich in der Stille, BWV 120b, 26 June 1730 (second day of 200th anniversary of Augsburg Confession)
 * Nun danket alle Gott, BWV 192, Autumn 1730 (partly lost, Reformation Day or wedding)
 * Was Gott tut, das ist wohlgetan, BWV 100, c. 1732–1735 (use unknown)
 * In allen meinen Taten, BWV 97, 25 July 1734 (5th Sunday after Trinity)
 * Bekennen will ich seinen Namen, BWV 200, c. 1742 (fragment of lost cantata, possibly for Epiphany or Purification, arrangement of the Aria "Dein Kreuz, o Bräutgam meiner Seele" from the Passion Oratorio "Ein Lämmlein geht und trägt die Schuld" of Gottfried Heinrich Stölzel by Johann Sebastian Bach (Source: BJ 2008, p. 123, Peter Wollny))
 * Tilge, Höchster, meine Sünden, BWV 1083, c. 1745–1747 (Bußgottesdienst [Confession service])