Bach digital -

Twenty-fourth Sunday after Trinity, Cantata Cycle I (1723/1724)

Genre

Proper

Scoring

Alt solo (Furcht), Tenor solo (Hoffnung), Bass solo (Vox Christi), Sopran, Alt, Tenor, Bass, Corno, Oboe d'amore I, Oboe d'amore II, Violine I, Violine II, Viola, Basso continuo

Date of origin, Work history

vor dem 07. November 1723

First performance on November 7, 1723; subsequent performance after 1735 (as evidenced by the watermark of the Basso continuo part)

Early performances

1723-07-11, Leipzig, St. Nicholas Church (Premiere) (Link to event)
Predigt: Salomon Deyling
WA nach 1735

relation to other works:

is part of BWV diverse [1. Jg.]

relation from other works

is adapted in BWV 60/5 ChSBC F 60.1

Link to videos:

Author Libretto

unknown author

Libretto

Author unknown. Movement 1 uses: O Ewigkeit, du Donnerwort (J. Rist, 1642), stanza 1, and Genesis 49:18. Movement 4 incorporates Revelation 14:13. Movement 5: Es ist genung, so nimm, Herr, meinen Geist, stanza 5 (text by F. J. Burmeister, with the original melody) from J. R. Ahle’s Drittes Zehn Neuer Geistlicher Arien (Mühlhausen 1662)

Author Chorale

Chorale

Chorale

Satz 5:
Franz Joachim Burmeister, "Es ist genung, so nimm, Herr, meinen Geist", 1662, Strophe 5
in: J. R. Ahle, Drittem Zehn neuer geistlicher Arien, Mühlhausen 1662

Bible verse