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List of songs and arias by Johann Sebastian Bach
List of songs and arias by Johann Sebastian Bach
List of songs and arias by Johann Sebastian Bach
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Lists of
Compositions by
Johann Sebastian Bach

Songs and arias by Johann Sebastian Bach are compositions listed in Chapter 6 of the Bach-Werke-Verzeichnis (BWV 439–524), which also includes the Quodlibet.[1] Most of the songs and arias included in this list are set for voice and continuo. Most of them are also spiritual, i.e. hymn settings, although a few have a worldly theme. The best known of these, "Bist du bei mir", was however not composed by Bach.

An aria by Bach was rediscovered in the 21st century, and was assigned the number BWV 1127.[2] Further hymn settings and arias by Bach are included in his cantatas, motets, masses, passions, oratorios and chorale harmonisations (BWV 1–438 and later additions). The second Anhang of the BWV catalogue also lists a few songs of doubtful authenticity.

Songs, arias and Quodlibet, BWV 439–524

[edit]
Legend to the table
column content
1 BWV Bach-Werke-Verzeichnis (lit. 'Bach-works-catalogue'; BWV) numbers. Anhang (Annex; Anh.) numbers are indicated as follows:
  • preceded by I: in Anh. I (lost works) of BWV1 (1950 first edition of the BWV)
  • preceded by II: in Anh. II (doubtful works) of BWV1
  • preceded by III: in Anh. III (spurious works) of BWV1
  • preceded by N: new Anh. numbers in BWV2 (1990) and/or BWV2a (1998)
2 2a Section in which the composition appears in BWV2a:
  • Chapters of the main catalogue indicated by Arabic numerals (1-13)
  • Anh. sections indicated by Roman numerals (I–III)
  • Reconstructions published in the NBE indicated by "R"
3 Date Date associated with the completion of the listed version of the composition. Exact dates (e.g. for most cantatas) usually indicate the assumed date of first (public) performance. When the date is followed by an abbreviation in brackets (e.g. JSB for Johann Sebastian Bach) it indicates the date of that person's involvement with the composition as composer, scribe or publisher.
4 Name Name of the composition: if the composition is known by a German incipit, that German name is preceded by the composition type (e.g. cantata, chorale prelude, motet, ...)
5 Key Key of the composition
6 Scoring See scoring table below for the abbreviations used in this column
7 BG Bach Gesellschaft-Ausgabe (BG edition; BGA): numbers before the colon indicate the volume in that edition. After the colon an Arabic numeral indicates the page number where the score of the composition begins, while a Roman numeral indicates a description of the composition in the Vorwort (Preface) of the volume.[3]
8 NBE New Bach Edition (German: Neue Bach-Ausgabe, NBA): Roman numerals for the series, followed by a slash, and the volume number in Arabic numerals. A page number, after a colon, refers to the "Score" part of the volume. Without such page number, the composition is only described in the "Critical Commentary" part of the volume. The volumes group Bach's compositions by genre:[4]
  1. Cantatas (Vol. 1–34: church cantatas grouped by occasion; Vol. 35–40: secular cantatas; Vol. 41: Varia)
  2. Masses, Passions, Oratorios (12 volumes)
  3. Motets, Chorales, Lieder (4 volumes)
  4. Organ Works (11 volumes)
  5. Keyboard and Lute Works (14 volumes)
  6. Chamber Music (5 volumes)
  7. Orchestral Works (7 volumes)
  8. Canons, Musical Offering, Art of Fugue (3 volumes)
  9. Addenda (approximately 7 volumes)
9 Additional info may include:
  • "after" – indicating a model for the composition
  • "by" – indicating the composer of the composition (if different from Johann Sebastian Bach)
  • "in" – indicating the oldest known source for the composition
  • "pasticcio" – indicating a composition with parts of different origin
  • "see" – composition renumbered in a later edition of the BWV
  • "text" – by text author, or, in source

Provenance of standard texts and tunes, such as Lutheran hymns and their chorale melodies, Latin liturgical texts (e.g. Magnificat) and common tunes (e.g. Folia), are not usually indicated in this column. For an overview of such resources used by Bach, see individual composition articles, and overviews in, e.g., Chorale cantata (Bach)#Bach's chorale cantatas, List of chorale harmonisations by Johann Sebastian Bach#Chorale harmonisations in various collections and List of organ compositions by Johann Sebastian Bach#Chorale Preludes.

10 BD Bach Digital Work page
Legend for abbreviations in "Scoring" column
Voices (see also SATB)
a A b B s S t T v V
alto (solo part) alto (choir part) bass (solo part) bass (choir part) soprano (solo part) soprano (choir part) tenor (solo part) tenor (choir part) voice (includes parts for unspecified voices or instruments as in some canons) vocal music for unspecified voice type
Winds and battery (bold = soloist)
Bas Bel Cnt Fl Hn Ob Oba Odc Tai Tbn Tdt Tmp Tr
bassoon (can be part of Bc, see below) bell(s) (musical bells) cornett, cornettino flute (traverso, flauto dolce, piccolo, flauto basso) natural horn, corno da caccia, corno da tirarsi, lituo oboe oboe d'amore oboe da caccia taille trombone tromba da tirarsi timpani tromba (natural trumpet, clarino trumpet)
Strings and keyboard (bold = soloist)
Bc Hc Kb Lu Lw Org Str Va Vc Vdg Vl Vne
basso continuo: Vdg, Hc, Vc, Bas, Org, Vne and/or Lu harpsichord keyboard (Hc, Lw, Org or clavichord) lute, theorbo Lautenwerck (lute-harpsichord) organ (/man. = manualiter, without pedals) strings: Vl I, Vl II and Va viola(s), viola d'amore, violetta violoncello, violoncello piccolo viola da gamba violin(s), violino piccolo violone, violone grosso
Background colours
Colour Meaning
green extant or clearly documented partial or complete manuscript (copy) by Bach and/or first edition under Bach's supervision
yellow extant or clearly documented manuscript (copy) or print edition, in whole or in part, by close relative, i.e. brother (J. Christoph), wife (A. M.), son (W. F. / C. P. E. / J. C. F. / J. Christian) or son-in-law (Altnickol)
orange-brown extant or clearly documented manuscript (copy) by close friend and/or pupil (Kellner, Krebs, Kirnberger, Walther, ...), or distant family member
Songs, arias and Quodlibet in Chapter 6 of BWV2a
BWV 2a Date Name Key Scoring BG NBE Additional info BD
439 6. 1735–1736 or earlier song "Ach, dass nicht die letzte Stunde" (Schemelli #831; tune #56) V Bc 39: 279 III/2.1: 210 ↔ Z 6721; text by Neumeister 00509
440 6. 1735–1736 or earlier song "Auf, auf! die rechte Zeit ist hier" (Schemelli #171; tune #11) V Bc 39: 279 III/2.1: 123 ↔ Z 705; text by Opitz 00510
441 6. c. 1735 or earlier chorale setting "Auf, auf, mein Herz, mit Freuden" F maj. SATB III/2.1: 67 after Z 5243; text by Gerhardt 00511
1735–1736 or earlier song "Auf, auf, mein Herz, mit Freuden" (Schemelli #320; tune #27) V Bc 39: 279 III/2.1: 152
442 6. 1735–1736 or earlier song "Beglückter Stand getreuer Seelen" (Schemelli #570; tune #39) V Bc 39: 280 III/2.1: 176 after Z 5970; text by Bonin [de] 00512
443 6. 1735–1736 or earlier song "Beschränkt, ihr Weisen dieser Welt" (Schemelli #689; tune #47) V Bc 39: 280 III/2.1: 192 ↔ Z 7765; text by Wegleiter [wikisource:de] 00513
444 6. 1735–1736 or earlier song "Brich entzwei, mein armes Herze" (Schemelli #303; tune #24) V Bc 39: 280 III/2.1: 146 after Z 7110–7111a; → Z 7111b; text by Trommer [scores] 00514
445 6. 1735–1736 or earlier song "Brunnquell aller Güter" (Schemelli #335; tune #29) V Bc 39: 281 III/2.1: 156 after Z 6252b; text by Franck, J. 00515
446 6. 1735–1736 or earlier song "Der lieben Sonnen Licht und Pracht" (Schemelli #39; tune #2) V Bc 39: 281 III/2.1: 106 after Z 5659; text by Scriver 00516
447 6. 1735–1736 or earlier song "Der Tag ist hin, die Sonne gehet nieder" (Schemelli #40; tune #3) V Bc 39: 281 III/2.1: 108 after Z 923; ↔ BWV 297; text by Rube [fr] 00517
448 6. 1735–1736 or earlier song "Der Tag mit seinem Lichte" (Schemelli #43; tune #4) V Bc 39: 282 III/2.1: 110 after Z 7512b; text by Gerhardt 00518
449 6. 1735–1736 or earlier song "Dich bet ich an, mein höchster Gott" (Schemelli #396; tune #31) V Bc 39: 282 III/2.1: 160 ↔ Z 2437; text by Olearius, J. G. [de][5] 00519
450 6. 1735–1736 or earlier song "Die bittre Leidenszeit beginnet abermal" (Schemelli #258; tune #17) V Bc 39: 282 III/2.1: 134 after Z 7429; text by Elmenhorst [de] 00520
451 6. 1735–1736 or earlier song "Die güldne Sonne" (Schemelli #13; tune #1) V Bc 39: 283 III/2.1: 104 after Z 8015; text by Gerhardt 00521
452 6. 1735–1736 or earlier song "Dir, dir, Jehova, will ich singen" (Schemelli #397; tune #32) V Bc 39: 284 III/2.1: 162 after BWV 299; → Z 3068; text by Crasselius 00522
453 6. 1735–1736 or earlier song "Eins ist not! ach Herr, dies Eine" (Schemelli #112; tune #7) V Bc 39: 284 III/2.1: 116 ↔ Z 7129; text by Schröder [scores] 00523
454 6. 1735–1736 or earlier song "Ermuntre dich, mein schwacher Geist" (Schemelli #187; tune #12) V Bc 39: 284 III/2.1: 124 after Z 5741; text by Rist 00524
455 6. 1735–1736 or earlier song "Erwürgtes Lamm, das die verwahrten Siegel" (Schemelli #580; tune #43) V Bc 39: 285 III/2.1: 184 after Z 3138; text by Bonin [de] 00525
456 6. 1735–1736 or earlier song "Es glänzet der Christen inwendiges Leben" (Schemelli #572; tune #40) V Bc 39: 285 III/2.1: 178 after Z 6969; text by Richter 00526
457 6. 1735–1736 or earlier song "Es ist nun aus mit meinem Leben" (Schemelli #847; tune #57) V Bc 39: 286 III/2.1: 212 after Z 6969; text by Omeis [de] 00527
458 6. 1735–1736 or earlier song "Es ist vollbracht! Vergiss ja nicht dies Wort" (Schemelli #306; tune #25) V Bc 39: 286 III/2.1: 148 after Z 2692; text by Schmidt [scores] 00528
459 6. 1735–1736 or earlier song "Es kostet viel, ein Christ zu sein" (Schemelli #522; tune #38) V Bc 39: 286 III/2.1: 174 after Z 2727; text by Richter 00529
460 6. 1735–1736 or earlier song "Gib dich zufrieden und sei stille" (Schemelli #647; tune #45) V Bc 39: 288 III/2.1: 188 after Z 7415; text by Gerhardt 00530
461 6. 1735–1736 or earlier song "Gott lebet noch" (Schemelli #488; tune #37) V Bc 39: 288 III/2.1: 172 after Z 7951; ↔ BWV 320; text by Zihn [de] 00531
462 6. 1735–1736 or earlier song "Gott wie groß ist deine Güte" (Schemelli #360; tune #30) V Bc 39: 289 III/2.1: 158 text by Schemelli; → Z 7937 00532
463 6. 1735–1736 or earlier song "Herr, nicht schicke deine Rache" (Schemelli #78; tune #5) V Bc 39: 289 III/2.1: 112 after Z 6863; text by Opitz 00533
464 6. 1735–1736 or earlier song "Ich bin ja, Herr, in deiner Macht" (Schemelli #861; tune #58) V Bc 39: 290 III/2.1: 214 after Z 5869a; text by Dach 00534
465 6. 1735–1736 or earlier song "Ich freue mich in dir" (Schemelli #194; tune #13) V Bc 39: 290 III/2.1: 126 after Z 5138; text by Ziegler, C. 00535
466 6. 1735–1736 or earlier song "Ich halte treulich still" (Schemelli #657; tune #46) V Bc 39: 290 III/2.1: 190 text by Till [scores]; → Z 5082 00536
467 6. 1735–1736 or earlier song "Ich lass dich nicht" (Schemelli #734; tune #51) V Bc 39: 291 III/2.1: 200 after Z 7455; text by Deßler [de] 00537
468 6. 1735–1736 or earlier song "Ich liebe Jesum alle Stund" (Schemelli #737; tune #52) V Bc 39: 291 III/2.1: 202 after Z 4731; → Z 4732 00538
469 6. 1735–1736 or earlier song "Ich steh an deiner Krippen hier" (Schemelli #195; tune #14) V Bc 39: 292 III/2.1: 128 ↔ Z 4663; text by Gerhardt 00539
476 6. 1735–1736 or earlier song "Ihr Gestirn, ihr hohlen Lüfte" (Schemelli #197; tune #15) V Bc 39: 294 III/2.1: 130 after Z 3703; text by Franck, J. 00546
471 6. 1735–1736 or earlier song "Jesu, deine Liebeswunden" (Schemelli #139; tune #10) V Bc 39: 292 III/2.1: 122 text by Wegleit. [wikisource:de]?; → Z 1302 00541
470 6. 1735–1736 or earlier song "Jesu, Jesu, du bist mein" (Schemelli #741; tune #53) V Bc 39: 292 III/2.1: 204 ↔ BWV 357; → Z 6446 00540
472 6. 1735–1736 or earlier song "Jesu, meines Glaubens Zier" (Schemelli #119; tune #8) V Bc 39: 293 III/2.1: 118 after Z 6453; text by Sacer 00542
473 6. 1735–1736 or earlier song "Jesu, meines Herzens Freud" (Schemelli #696; tune #48) V Bc 39: 293 III/2.1: 194 after Z 4797–4798; text by Flittner [de] 00543
474 6. 1735–1736 or earlier song "Jesus ist das schönste Licht" (Schemelli #463; tune #33) V Bc 39: 293 III/2.1: 164 after Z 6412; text by Richter 00544
475 6. 1735–1736 or earlier song "Jesus, unser Trost und Leben" (Schemelli #333; tune #28) V Bc 39: 294 III/2.1: 154 after Z 4918; text by Homburg [de] 00545
477 6. 1735–1736 or earlier song "Kein Stündlein geht dahin" (Schemelli #869; tune #60) V Bc 39: 294 III/2.1: 218 after 4243b; text by Franck, M.? 00547
478 6. 1735–1736 or earlier song "Komm, süßer Tod" (Schemelli #868; tune #59) V Bc 39: 295 III/2.1: 216 → Z 4400 00548
479 6. 1735–1736 or earlier song "Kommt, Seelen, dieser Tag" (Schemelli #936; tune #67) V Bc 39: 295 III/2.1: 232 → Z 5185; text by Löscher 00549
480 6. 1735–1736 or earlier song "Kommt wieder aus der finstern Gruft" (Schemelli #938; tune #68) V Bc 39: 296 III/2.1: 234 → Z 4709; text by Löscher 00550
481 6. 1735–1736 or earlier song "Lasset uns mit Jesu ziehen" (Schemelli #281; tune #18) V Bc 39: 296 III/2.1: 136 after Z 7886b; ↔ BWV 413; text by Birken 00551
482 6. 1735–1736 or earlier song "Liebes Herz, bedenke doch" (Schemelli #467; tune #34) V Bc 39: 297 III/2.1: 166 after Z 6434; text by Koitsch [de] 00552
483 6. 1735–1736 or earlier song "Liebster Gott, wann werd ich sterben" (Schemelli #873; tune #61) E♭ maj. V Bc 39: 297 III/2.1: 220 after Z 6634; text by Neumann 00553
484 6. 1735–1736 or earlier song "Liebster Herr Jesu, wo bleibst du so lange" (Schemelli #874; tune #62) V Bc 39: 298 III/2.1: 222 ↔ Z 3969; text by Weselowius [scores] 00554
485 6. 1735–1736 or earlier song "Liebster Immanuel, Herzog der Frommen" (Schemelli #761; tune #54) V Bc 39: 298 III/2.1: 206 after Z 4932c; text by Fritsch 00555
488 6. 1735–1736 or earlier song "Meines Lebens letzte Zeit" (Schemelli #881; tune #63) V Bc 39: 299 III/2.1: 224 after Z 6380; ↔ BWV 381 00558
486 6. 1735–1736 or earlier song "Mein Jesu, dem die Seraphinen" (Schemelli #121; tune #9) V Bc 39: 298 III/2.1: 120 after Z 5988; text by Deßler [de] 00556
487 6. 1735–1736 or earlier song "Mein Jesu! was vor Seelenweh" (Schemelli #283; tune #19) V Bc 39: 299 III/2.1: 138 text by Schemelli?; → Z 8383 00557
489 6. 1735–1736 or earlier song "Nicht so traurig, nicht so sehr" (Schemelli #574; tune #41) V Bc 39: 300 III/2.1: 180 after Z 3342; text by Gerhardt? 00559
490 6. 1735–1736 or earlier song "Nur mein Jesus ist mein Leben" (Schemelli #700; tune #49) V Bc 39: 300 III/2.1: 196 after Z 8404c 00560
491 6. 1735–1736 or earlier song "O du Liebe meiner Liebe" (Schemelli #284; tune #20) V Bc 39: 300 III/2.1: 140 after Z 6693; text by Senitz [Wikidata][6] 00561
492 6. 1735–1736 or earlier song "O finstre Nacht, wenn wirst du doch vergehen" (Schemelli #891; tune #64) V Bc 39: 301 III/2.1: 226 ↔ Z 6171; text by Breithaupt [scores] 00562
493 6. 1735–1736 or earlier song "O Jesulein süß, o Jesulein mild" (Schemelli #203; tune #16) V Bc 39: 302 III/2.1: 132 after Z 2016a; text by Thilo [de] 00563
494 6. 1735–1736 or earlier song "O liebe Seele, zieh die Sinnen" (Schemelli #575; tune #42) V Bc 39: 302 III/2.1: 182 → Z 7787 00564
495 6. 1735–1736 or earlier song "O wie selig seid ihr doch, ihr Frommen" (Schemelli #894; tune #65) V Bc 39: 302 III/2.1: 228 after Z 1583; ↔ BWV 405; text by Dach 00565
496 6. 1735–1736 or earlier song "Seelenbräutigam" (Schemelli #472; tune #35) V Bc 39: 303 III/2.1: 168 after Z 3255a–b; ↔ BWV 409; text by Drese 00566
497 6. 1735–1736 or earlier song "Seelenweide" (Schemelli #710; tune #50) V Bc 39: 303 III/2.1: 198 after Z 1286; text by Drese 00567
499 6. 1735–1736 or earlier song "Sei gegrüßet, Jesu gütig" (Schemelli #293; tune #22) V Bc 39: 304 III/2.1: 143 after Z 3889b; ↔ BWV 410; text by Keymann 00569
498 6. 1735–1736 or earlier song "Selig, wer an Jesum denkt" (Schemelli #292; tune #21) V Bc 39: 304 III/2.1: 142 → Z 4846 00568
500 6. 1735–1736 or earlier song "So gehst du nun, mein Jesu hin" (Schemelli #296; tune #23) V Bc 39: 304 III/2.1: 144 after Z 7631b; ↔ BWV 500a; text by Nachtenhöfer [de] 00570
501 6. 1735–1736 or earlier song "So gibst du nun, mein Jesu, gute Nacht" (Schemelli #315; tune #26) V Bc 39: 304 III/2.1: 150 after Z 849; ↔ BWV 412; text by Pfeiffer [de] 00572
502 6. 1735–1736 or earlier song "So wünsch ich mir zu guter Letzt" (Schemelli #901; tune #66) V Bc 39: 305 III/2.1: 230 ↔ Z 5892; text by Rist 00573
503 6. 1735–1736 or earlier song "Steh ich bei meinem Gott" (Schemelli #945; tune #69) V Bc 39: 305 III/2.1: 236 after Z 5207; text by Herrnschmidt [de] 00574
504 6. 1735–1736 or earlier song "Vergiss mein nicht, dass ich dein nicht vergesse" (Schemelli #475; tune #36) V Bc 39: 306 III/2.1: 170 after Z 4779; text by Arnold 00575
505 6. 1735–1736 or earlier song "Vergiss mein nicht, ..., Mein allerliebster Gott" (Schemelli #627; tune #44) V Bc 39: 306 III/2.1: 186 text by Arnold; → Z 4233 00576
506 6. 1735–1736 or earlier song "Was bist du doch, o Seele, so betrübt" (Schemelli #779; tune #55) A min. V Bc 39: 307 III/2.1: 208 after Z 1837; ↔ BWV 424; text by Schultt, R. F. [scores] 00577
507 6. 1735–1736 or earlier song "Wo ist mein Schäflein, das ich liebe" (Schemelli #108; tune #6) V Bc 39: 308 III/2.1: 114 after Z 5958a; text by Schultt, J. P. [scores] 00578
508 6. 1718-11-16 (GHS)
after 1733–1734 (AMB) 		Notebook A. M. Bach (1725) No. 25: aria "Bist du bei mir" E♭ maj. V Bc 432: 36
39: 309 		V/4: 102 after Stölzel (Diomedes) 00579
509 6. 1725–1733 (AMB) Notebook A. M. Bach (1725) No. 41: aria "Gedenke doch, mein Geist, zurücke" V Bc 432: 52
39: 310 		V/4: 128 00580
510 6. 1725–1733 Notebook A. M. Bach (1725) No. 12: song "Gib dich zufrieden und sei stille" F maj. V Bc 432: 30
39: 311 		V/4: 91 00581
511 6. 1725–1733 Notebook A. M. Bach (1725) No. 13a: song "Gib dich zufrieden und sei stille" G min. V Bc 432: 31
39: 287 		V/4: 91 text by Gerhardt; → BWV 512 00582
512 6. 1725–1733 Notebook A. M. Bach (1725) No. 13b: song "Gib dich zufrieden und sei stille" E min. V Bc 432: 31
39: 287 		V/4: 91 after BWV 511; ↔ BWV 315, Z 7417a; text by Gerhardt 00583
513 6. 1725–1733 (AMB) Notebook A. M. Bach (1725) No. 42: song "O Ewigkeit, du Donnerwort" V Bc 432: 52
39: 301 		V/4: 129 ↔ BWV 397; text by Rist 00584
514 6. 1725–1733 (AMB) Notebook A. M. Bach (1725) No. 35: song "Schaffs mit mir, Gott" V Bc 432: 48
39: 303 		V/4: 125 text by Schmolck 00585
515 6. after 1733–1734 Notebook A. M. Bach (1725) No. 20a: aria "So oft ich meine Tobackspfeife" D min. V Bc 432: 34 V/4: 98 by Bach, G. H.?; → BWV 515a 00586
515a 6. after 1733–1734 Notebook A. M. Bach (1725) No. 20b: aria "So oft ich meine Tobackspfeife" G min. V Bc 432: 34
39: 309 		V/4: 98 after BWV 515 00587
516 6. after 1733–1734 (AMB) Notebook A. M. Bach (1725) No. 33: aria "Warum betrübst du dich" V Bc 432: 46
39: 307 		V/4: 121 00588
517 6. after 1733–1734 (AMB) Notebook A. M. Bach (1725) No. 40: song "Wie wohl ist mir, o Freund der Seelen" V Bc 432: 51
39: 307 		V/4: 128 text by Deßler [de] 00589
518 6. after 1725 Notebook A. M. Bach (1725) No. 37: aria "Willst du dein Herz mir schenken" a.k.a. "Aria di G(i)ovannini" V Bc 432: 49
39: 311 		V/4: 126 00590
519 6. c.1736? Five Hymns from SBB Bach P 802 No. 1: "Hier lieg ich nun, o Vater aller Gnaden" V Bc by Krebs, J. L.?; in Spitta III, pp. 401–403 00591
520 6. c.1736? Five Hymns from SBB Bach P 802 No. 2: "Das walt mein Gott, Gott Vater, Sohn und heilger Geist" V Bc by Krebs, J. L.?; in Spitta III, pp. 401–403 00592
521 6. c.1736? Five Hymns from SBB Bach P 802 No. 3: "Gott, mein Herz dir Dank zusendet" V III/3 by Krebs, J. L.?; in Spitta III, pp. 401–403 00593
522 6. c.1736? Five Hymns from SBB Bach P 802 No. 4: "Meine Seele, lass es gehen, wie es in der Welt jetzt geht" V by Krebs, J. L.?; in Spitta III, pp. 401–403 00594
523 6. c.1736? Five Hymns from SBB Bach P 802 No. 5: "Ich gnüge mich an meinem Stande" V by Krebs, J. L.?; in Spitta III, pp. 401–403 00595
524 6. 1707 – July 1708 Quodlibet (incomplete; wedding?) SATB (SBBB) Bc NBG 322 I/41: 69 00596

Sacred songs and arias from Schemelli's Songbook (BWV 439–507)

[edit]

Title page of Georg Christian Schemelli's 1736 Songbook, containing 69 melodies for which Bach provided a melody and/or (improved) accompaniment
Wikimedia Commons has media related to BWV 439–507 – Sacred Songs & Arias from Schemelli's Musicalisches Gesang-Buch.
See also: Schemellis Gesangbuch and List of compositions by Johann Sebastian Bach printed during his lifetime § Spiritual songs and arias from Schemelli's Musicalisches Gesangbuch

The hymnal or song book known as Schemellis Gesangbuch, published 1736 in Leipzig by Georg Christian Schemelli, contained 954 hymns;[7] 69 of these, listed here, were accompanied by a melody and a figured bass.

  • BWV 439 – Ach, dass nicht die letzte Stunde
  • BWV 440 – Auf, auf! die rechte Zeit ist hier
  • BWV 441 – Auf! auf! mein Herz, mit Freuden [commons]
  • BWV 442 – Beglückter Stand getreuer Seelen
  • BWV 443 – Beschränkt, ihr Weisen dieser Welt
  • BWV 444 – Brich entzwei, mein armes Herze
  • BWV 445 – Brunnquell aller Güter
  • BWV 446 – Der lieben Sonnen Licht und Pracht
  • BWV 447 – Der Tag ist hin, die Sonne gehet nieder
  • BWV 448 – Der Tag mit seinem Lichte
  • BWV 449 – Dich bet' ich an, mein höchster Gott
  • BWV 450 – Die bittre Leidenszeit beginnet abermal
  • BWV 451 – Die güldne Sonne voll Freud und Wonne
  • BWV 452 – Dir, dir Jehovah, will ich singen
  • BWV 453 – Eins ist Not! ach Herr, dies Eine
  • BWV 454 – Ermuntre dich, mein schwacher Geist
  • BWV 455 – Erwürgtes Lamm, das die verwahrten Siegel
  • BWV 456 – Es glänzet der Christen
  • BWV 457 – Es ist nun aus mit meinem Leben
  • BWV 458 – Es ist vollbracht! vergiss ja nicht
  • BWV 459 – Es kostet viel, ein Christ zu sein
  • BWV 460 – Gib dich zufrieden und sei stille
  • BWV 461 – Gott lebet noch; Seele, was verzagst du doch?
  • BWV 462 – Gott, wie groß ist deine Güte
  • BWV 463 – Herr, nicht schicke deine Rache
  • BWV 464 – Ich bin ja, Herr, in deiner Macht
  • BWV 465 – Ich freue mich in dir
  • BWV 466 – Ich halte treulich still und liebe
  • BWV 467 – Ich lass' dich nicht
  • BWV 468 – Ich liebe Jesum alle Stund'
  • BWV 469 – Ich steh' an deiner Krippen hier
  • BWV 470 – Jesu, Jesu, du bist mein
  • BWV 471 – Jesu, deine Liebeswunden
  • BWV 472 – Jesu, meines Glaubens Zier
  • BWV 473 – Jesu, meines Herzens Freud
  • BWV 474 – Jesus ist das schönste Licht
  • BWV 475 – Jesus, unser Trost und Leben
  • BWV 476 – Ihr Gestirn', ihr hohen Lufte
  • BWV 477 – Kein Stündlein geht dahin
  • BWV 478 – Komm, süßer Tod, komm, selge Ruh
  • BWV 479 – Kommt, Seelen, dieser Tag
  • BWV 480 – Kommt wieder aus der finstern Gruft
  • BWV 481 – Lasset uns mit Jesu ziehen
  • BWV 482 – Liebes Herz, bedenke doch
  • BWV 483 – Liebster Gott, wann werd' ich sterben?
  • BWV 484 – Liebster Herr Jesu! wo bleibest du so lange?
  • BWV 485 – Liebster Immanuel, Herzog der Frommen
  • BWV 486 – Mein Jesu, dem die Seraphinen
  • BWV 487 – Mein Jesu! was für Seelenweh
  • BWV 488 – Meines Lebens letzte Zeit
  • BWV 489 – Nicht so traurig, nicht so sehr
  • BWV 490 – Nur mein Jesus ist mein Leben
  • BWV 491 – O du Liebe meiner Liebe
  • BWV 492 – O finstre Nacht
  • BWV 493 – O Jesulein süß, o Jesulein mild
  • BWV 494 – O liebe Seele, zieh' die Sinnen
  • BWV 495 – O wie selig seid ihr doch, ihr Frommen
  • BWV 496 – Seelen-Bräutigam, Jesu, Gottes Lamm
  • BWV 497 – Seelenweide, meine Freude
  • BWV 498 – Selig, wer an Jesum denkt
  • BWV 499 – Sei gegrüßet, Jesu gütig
  • BWV 500 – So gehst du nun, mein Jesu, hin
  • BWV 501 – So giebst du nun, mein Jesu, gute Nacht
  • BWV 502 – So wünsch' ich mir zu guter Letzt
  • BWV 503 – Steh' ich bei meinem Gott
  • BWV 504 – Vergiss mein nicht, dass ich dein nicht
  • BWV 505 – Vergiss mein nicht, vergiss mein nicht
  • BWV 506 – Was bist du doch, o Seele, so betrübet
  • BWV 507 – Wo ist mein Schäflein, das ich liebe

Songs and arias from the second Notebook for Anna Magdalena Bach (BWV 508–518)

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So oft ich meine Tobackspfeife, BWV 515 (4:49)
Ukrainian words by M. Strikha
Problems playing this file? See media help.
See also: Notebook for Anna Magdalena Bach § Songs and arias, BWV 508–518

Five hymns from a manuscript by Johann Ludwig Krebs (BWV 519–523)

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Fünf geistliche Lieder are five hymns as collected by Johann Ludwig Krebs (1713–1780) and published by Breitkopf & Härtel in 1917.

  • BWV 519 – Hier lieg ich nun (doubtful)[8]
  • BWV 520 – Das walt' mein Gott (doubtful)[8]
  • BWV 521 – Gott mein Herz dir Dank (doubtful)[8]
  • BWV 522 – Meine Seele, lass es gehen (doubtful)[8]
  • BWV 523 – Ich gnüge mich an meinem Stande (doubtful)[8]

Quodlibet (BWV 524)

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Added to the BWV catalogue in the 21st century (BWV 1127)

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Doubtful works from BWV Anh. II (BWV Anh. 32–41)

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BWV Anh. II lists eight songs in Christian Hofmann von Hofmannswaldau's Deutsche Übersetzungen und Gedichte and two in Sperontes' Singende Muse an der Pleiße as possibly composed by Bach.

From Deutsche Übersetzungen und Gedichte

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  • BWV Anh. 32 – Sacred Song "Getrost mein Geist, wenn Wind und Wetter krachen" (doubtful)
  • BWV Anh. 33 – Sacred song "Mein Jesus, spare nicht" (doubtful)
  • BWV Anh. 34 – Sacred Song "Kann ich mit einem Tone" (doubtful)
  • BWV Anh. 35 – Sacred Song "Meine Seele lass die Flügel" (doubtful)
  • BWV Anh. 36 – Sacred song "Ich stimm' itzund ein Straff-Lied an" (doubtful)
  • BWV Anh. 37 – Sacred song "Der schwarze Flügel trüber Nacht" (doubtful)
  • BWV Anh. 38 – Sacred song "Das Finsterniß tritt ein" (doubtful)
  • BWV Anh. 39 – Song "Ach was wollt ihr trüben Sinnen" (doubtful)

From Singende Muse an der Pleiße

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Spurious work from BWV Anh. III (BWV Anh. 158)

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Other BWV numbers referring to a single aria

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In the church cantata range of BWV numbers (BWV 1–200):

References

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Revisions and contributorsEdit on WikipediaRead on Wikipedia

List of songs and arias by Johann Sebastian Bach

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The list of songs and arias by Johann Sebastian Bach encompasses 80 short vocal works cataloged in the (BWV) as numbers 439 through 518, consisting mainly of sacred German lieder and arias for solo voice with accompaniment, designed for personal or domestic devotional use rather than liturgical performance. These pieces reflect Bach's engagement with Lutheran hymnody and Pietist influences during his Leipzig period (1723–1750), blending simple strophic forms with expressive melodies and harmonizations. The majority of the collection—69 songs numbered BWV 439–507—originated from Georg Christian Schemelli's Musicalisches Gesang-Buch, a of 954 sacred texts published in 1736 in and , where Bach served as musical director and contributed original melodies for at least three pieces (BWV 452, 478, and 505), along with bass lines, figured basses, and revisions to existing tunes for dozens more. Bach's involvement likely extended to oversight, aligning the music with theological and moral aims, though his exact role remains partially obscure due to limited documentation and the collaborative nature of the project. Authorship debates persist, with modern scholarship attributing only a handful of the Schemelli songs unequivocally to Bach, while others may derive from his pedagogical materials or earlier compositions; for instance, the Neue Bach-Ausgabe (NBA) recognizes just three as fully original. Complementing these are the 11 arias cataloged as BWV 508–518, drawn from the two Notebooks for Anna Magdalena Bach (compiled in 1722 and 1725 as gifts for his second wife), which include both Bach's own compositions and arrangements of contemporary works by composers like Gottfried Heinrich Stölzel and Christian Ferdinand Witt. Notable among them is the aria Bist du bei mir (BWV 508), a poignant expression of marital and spiritual longing, originally by Stölzel but adapted by Bach with a new recitative-like ending. These notebook pieces highlight Bach's lighter, more intimate vocal style, often featuring keyboard realizations suitable for home music-making, and underscore his role in domestic musical education within the family. Overall, the BWV 439–518 songs and arias represent a modest but significant facet of Bach's vast output, which comprises over 1,100 compositions in the BWV catalogue, emphasizing concise, heartfelt settings of biblical and devotional texts that contrast with his more elaborate cantatas and passions. While not among his most performed works, they offer insights into his compositional versatility and commitment to accessible sacred music, with modern editions and recordings continuing to explore their textual-musical interplay.

Background and Catalogue Overview

Scope and Definition of Bach's Songs and Arias

In Johann Sebastian Bach's compositional output, songs and arias encompass standalone vocal works that differ from the more extensive forms such as cantatas, , and oratorios. Songs, often termed Lieder in the German , are generally simple strophic or through-composed pieces for solo voice accompanied by keyboard, emphasizing melodic clarity and textual devotion suitable for personal or familial settings. Arias, by contrast, represent more structured compositions, frequently employing or binary forms with a solo voice and continuo or instrumental support, extracted or composed independently rather than as integral components of larger dramatic or liturgical structures. These distinctions highlight Bach's versatility in vocal writing, adapting operatic and sacred influences to concise formats. Historically, Bach produced a limited number of such standalone songs and arias, a scarcity attributable to his primary roles in church and court positions, where the demands of composing over 200 surviving church cantatas and numerous secular cantatas took precedence. These smaller vocal pieces emerged mainly during his period (1723–1750), serving personal, devotional, or recreational purposes rather than public performance, and reflecting the intimate musical life of his household. Unlike the elaborate of his cantatas, these works prioritize accessibility, often featuring homophonic textures that underscore the poetic or spiritual content without complex orchestration. Bach's songs and arias are characterized by their use of German texts, with sacred themes prevailing to align with Lutheran piety, and straightforward harmonizations via that facilitate domestic keyboard performance. The from Schemelli's Musicalisches Gesang-Buch (BWV 439–507) comprise approximately 69 entries, including melodies and bass realizations attributed to or involving Bach, intended for private devotional . Complementing these are 11 songs and arias from the Second (BWV 508–518), which include light arias and minuets evoking domestic affection. Further additions, such as five hymns (BWV 519–523) and a quodlibet (BWV 524), yield a core total of around 86 works, expanded to approximately 100 with 20th-century discoveries and attributions.

Role in the BWV Catalogue

The (BWV), the thematic-systematic catalogue of Johann Sebastian Bach's musical works, assigns Chapter 6 to songs, arias, and the quodlibet, covering BWV 439–524. This organizational framework was introduced in the catalogue's inaugural edition, compiled by Schmieder and published in 1950 by Breitkopf & Härtel in . The 1950 edition provided the foundational numbering for Bach's output, grouping vocal works of this type based on their genres and primary sources, though it initially overlooked some lesser-known or disputed compositions due to incomplete source documentation at the time. Within Chapter 6, the numbering follows a structured sequence reflecting key manuscript sources: BWV 439–507 encompasses the sacred songs and arias drawn from Georg Christian Schemelli's Musicalisches Gesang-Buch (1736); BWV 508–518 includes songs and arias from the second Clavier-Büchlein für (1725); BWV 519–523 comprises hymns preserved in the Johann Ludwig Krebs manuscript; and BWV 524 designates the quodlibet. These assignments prioritize the works' origins in printed and handwritten collections, emphasizing Bach's contributions to both sacred and domestic . The catalogue's appendices address doubtful and spurious works, with Anh. II cataloguing attributed songs (BWV Anh. II 32–41) and Anh. III listing spurious ones (such as BWV Anh. III 158). Subsequent revisions expanded the BWV's scope; the 1998 edition, edited by Alfred Dürr, Yoshitake Kobayashi, and Wolfgang Schmieder, incorporated findings from ongoing Bach scholarship, including refined attributions and source analyses. A third edition, published in 2022 in collaboration with the Bach-Archiv Leipzig, further updated the catalogue to reflect 21st-century research. In the 21st century, newly rediscovered pieces like the aria BWV 1127—unearthed in 2005 from a Weimar library manuscript—have been assimilated into the main BWV sequence, reflecting the catalogue's evolving nature as research uncovers additional primary materials.

Canonical Songs and Arias (BWV 439–524)

Sacred Songs from Schemelli's Songbook (BWV 439–507)

The Sacred Songs from Schemelli's Songbook (BWV 439–507) comprise 69 four-part chorale harmonizations contributed by Johann Sebastian Bach to Musicalisches Gesang-Buch, a collection of 954 sacred songs and arias published in Leipzig in 1736 by Bernhard Christoph Breitkopf. Georg Christian Schemelli, the court's cantor in Zeitz and former pupil at Leipzig's Thomasschule, compiled the volume and solicited Bach's assistance, advertising his involvement on the title page for the figured bass realizations and harmonizations. These pieces draw from Lutheran hymn texts, some authored by Schemelli himself, and were designed for private devotional singing in evangelical communities around Naumburg and Zeitz, emphasizing simplicity and accessibility with chordal textures supported by organ continuo. Bach's contributions primarily involve adapting existing melodies into four-voice settings, though research identifies about 21 as potentially original tunes by him, such as BWV 452, BWV 478, and BWV 505; the remainder revise tunes from earlier hymnals like those of Johann Crüger or Adam Drese. The 69 works are included in the BWV catalogue, but modern scholarship attributes only a few unequivocally to Bach as original compositions, with the majority involving his revisions or contributions; debates persist on the extent of his authorship. The settings reflect a blend of Pietistic and galant lightness, unsuitable for robust congregational use but ideal for personal , often featuring expressive melodic lines over straightforward harmonic progressions. They stem directly from the 1736 first edition preserved in sources like the Staatsbibliothek zu . The following table presents representative examples, highlighting the German incipit, English translation, and notes on style or authorship:
BWVGerman IncipitEnglish TranslationNotes on Authorship and Style
439Ach, dass nicht die letzte StundeAh, that not the last hourSimple chordal harmonization of an anonymous text; adapted melody, emphasizing solemn reflection on mortality.
450Die bittre Leidenszeit beginnet abermalNow is the mournful timeFigured bass for organ; text by Johann Wolfgang Franck, melody possibly revised from earlier sources for Lenten devotion.
452Dir, dir, Jehova, will ich singenTo Thee, to Thee, Jehovah, will I singConfirmed original melody by Bach; joyful praise setting with flowing lines suitable for solo voice and continuo.
478Komm, süßer Tod, komm selge RuhCome, sweet death, come blessed restConfirmed original melody by Bach; poignant, lyrical aria-like structure evoking serene acceptance of death.
505Vergiss mein nicht, mein allerliebster GottForget me not, my dearest GodExplicitly credited to Bach; intimate prayer with delicate harmonization, original tune.

Secular Songs from the Second Notebook for Anna Magdalena Bach (BWV 508–518)

The Second Clavier-Büchlein, presented by Johann Sebastian Bach to his second wife Anna Magdalena in 1725, serves as a personal music album for domestic use, featuring a mix of keyboard compositions, dances, and vocal works intended for and instruction. The vocal section, catalogued as BWV 508–518, consists of 11 short songs and arias, mostly for or voice with , emphasizing melodic simplicity and galant elegance suitable for amateur singers like Anna Magdalena and the Bach children. These pieces blend Bach's originals with arrangements of works by contemporaries, incorporating French stylistic elements such as graceful phrasing and light ornamentation, and were likely used for evening music-making in the household. Of the 11 entries, eight are attributed to Bach, while three draw from other composers: BWV 508 uses a by Gottfried Heinrich Stölzel, BWV 510 is by Johann , and BWV 518 adapts an by Giuseppe Maria Orlandini (known as "Giovannini"). The secular character of these songs—despite some sharing devotional texts—lies in their intimate, non-liturgical setting, contrasting with the more formal sacred harmonizations in Schemelli's Songbook. Notable examples include the tender love duet "Bist du bei mir" (BWV 508) and the humorous "So oft ich meine Tobackspfeife" (BWV 515), which reflect the playful side of life. The notebook's survival, preserved in the , offers rare insight into 18th-century musical pedagogy and spousal affection through shared repertoire. The following table lists the pieces, with incipits, attributed composers, voice types, and brief performance notes:
BWVIncipitComposerVoice TypePerformance Notes
508Bist du bei mirG.H. Stölzel (melody), J.S. Bach (harmony)/, continuoIntimate love aria; simple accompaniment for voice practice; often performed as a duet in modern recordings.
509Gedenke doch, mein Geist, zurückeJ.S. Bach/, continuoReflective aria on Psalm 77; suited for expressive singing in family settings.
510Gib dich zufrieden und sei stille ()J.S. Bach/, continuoDevotional song; keyboard-friendly for sight-reading exercises.
511Gib dich zufrieden und sei stille (G minor)J.S. Bach/, continuoVariant setting; emphasizes emotional depth through minor key.
512Gib dich zufrieden und sei stille ()J.S. Bach/, continuoThird variant; demonstrates harmonic variation for teaching purposes.
513O , du DonnerwortJ.S. Bach/, continuoHymn-like song on eternity; French-influenced phrasing for melodic flow.
514Schaff’s mit mir, GottJ.S. Bach/, continuoPrayerful aria; short and accessible for daily devotionals.
515So oft ich meine TobackspfeifeJ.S. Bach/, continuoHumorous secular to pipe-smoking; light, buffo style for entertainment.
516Warum betrübst du dich, mein HerzJ.S. Bach/, continuoConsolatory song from ; gentle for vocal warm-ups.
517Wie wohl ist mir, o Freund der SeelenJ.S. Bach/, continuoJoyful devotional; upbeat for group singing.
518Willst du dein Herz mir schenken ( di Giovannini)G.M. Orlandini (after), J.S. Bach (arr.)/, continuoCharming in ; Italianate with galant ornamentation.

Hymns from Johann Ludwig Krebs Manuscript (BWV 519–523)

The five hymns catalogued as BWV 519–523 are preserved in a collective manuscript (D-B Mus. ms. Bach P 802) held by the , primarily copied by Johann Ludwig Krebs (1713–1780), a student of Bach who served as his copyist and keyboard player from 1726 until 1737 or 1738. This autograph also includes contributions from Krebs's father, Johann Tobias Krebs (1690–1762), and the organist Johann Gottfried Walther (1685–1748), reflecting a collaborative pedagogical tradition in and circles around the 1710s to . The hymns appear as a cohesive group of within this volume, set to devotional Lutheran texts emphasizing , , and . These settings are of doubtful authenticity, often classified as spurious in modern catalogues, though attributed to Bach based on stylistic similarities and Krebs's association; they may represent Krebs's compositions or copies. They were first published in a modern edition by Breitkopf & Härtel in 1917 and formally incorporated into the BWV catalogue in its inaugural 1950 edition by Wolfgang Schmieder, placing them in Chapter 6 alongside other vocal works. Krebs's close association with Bach supports the attribution, as he completed family manuscripts begun under Bach's influence, preserving these pieces as exemplars of intimate vocal instruction. Musically, the hymns are concise two-part compositions for solo voice and , featuring the melody in the upper voice against a contrapuntal bass line with indications for realization. They draw on pietistic Lutheran , with expressive yet restrained that highlights the texts' emotional depth, such as pleas for mercy or serene acceptance of divine will. The settings employ existing melodies, adapted with subtle harmonic tensions and resolutions typical of Bach's chorale style.
BWVTitleText AuthorKeyStructure and Melody Notes
519Hier lieg ich nun, o Vater aller Gnaden (1555–1621)F majorTwo s; melody original to text; simple dialogue between voice and bass.
520Das walt' mein GottUnknown (morning blessing )Not specifiedSingle ; derived from Schemelli Songbook No. 8; homorhythmic with light .
521Gott, mein Herz dir Dank zusendetEmilie Juliane von (1637–1706)Not specifiedFour stanzas abbreviated; original melody; bass provides supportive harmony.
522Meine Seele, lass es gehenUnknown ( )Not specifiedSix stanzas excerpted from Schemelli No. 667; gentle, flowing .
523Ich gnüge mich an meinem Stande (1607–1676)Eleven stanzas summarized; melody "Wer nur den lieben Gott lässt walten" by Georg ; ornate bass line.
These works stand out as the shortest entries in the BWV vocal catalogue, each lasting under two minutes in performance, and function as a transitional link between Bach's secular songs and his more elaborate four-part chorales, underscoring his role in fostering devotional music through student instruction.

Quodlibet (BWV 524)

The Quodlibet BWV 524, also known as the Wedding Quodlibet, is an unfinished vocal work by Johann Sebastian Bach composed around 1708 for soprano, alto, tenor, bass, and continuo. It survives as a fragmentary autograph manuscript on three large sheets totaling twelve pages, with the outer sheet containing the title page now lost, indicating it was likely a clear copy from an earlier draft. The piece exemplifies the quodlibet genre through its humorous integration of multiple popular folk tunes and textual fragments into a single composition, creating a parodic, catalog-style narrative that lists absurd or whimsical items in a homophonic texture with occasional polyphonic overlaps. Musically, BWV 524 employs a lighthearted, improvisatory style that contrasts sharply with the solemnity of Bach's , such as those in Schemelli's Songbook, by quoting recognizable melodies simultaneously across voices to form musical puzzles for listeners. Examples include interwoven folk fragments that evoke student songs and proverbs, accompanied by —such as descending lines for references to downfall or rising motifs for elevation—in measures like 19–20 and 37–38. The German text, possibly a collaborative effort by Bach or his circle, features dialectal elements, Latin quotations, and local allusions (e.g., to and biblical figures like ), alongside references to solar eclipses from 1705 or 1706, underscoring its parodic intent. The manuscript's provenance traces to a 1932 acquisition by collector Manfred Gorke, later purchased by the Leipzig city library in 1935, with possible origins linked to Count von Boineburg's collection via Carl Philipp Emanuel Bach. Likely intended for a wedding celebration in Bach's early career locales like Erfurt, Arnstadt, or Mühlhausen—before his Weimar appointment in 1708—it reflects the Bach family's quodlibet tradition of blending tunes for festive, improvisatory entertainment, distinct from more structured works like the Peasant Cantata (BWV 212). Authenticity is affirmed by scholars, as noted in Grove Music Online, classifying it as a genuine early Bach composition rather than doubtful or spurious. Performances of BWV 524 remain rare due to its incomplete state, often requiring scholarly reconstruction for modern rendition, with notable recordings by ensembles like the under Shunske Sato and Musica Antiqua Köln under Reinhard Goebel. First printed in 1932 by , the work highlights Bach's versatility in secular, humorous vocal forms during his formative years.

Later Discoveries and Additions

Rediscovered Aria (BWV 1127)

In May 2005, musicologist Michael Maul from the Bach-Archiv discovered the score of an unknown by Johann Sebastian Bach while examining materials in the Herzogin Anna Amalia Bibliothek in , , as part of a systematic archival survey in central . The , in Bach's own hand, was identified as a previously unknown vocal work composed in October 1713 to celebrate the 53rd birthday of Wilhelm Ernst of , Bach's employer during his tenure as court organist from 1708 to 1717. This discovery marked the first major addition to Bach's known vocal oeuvre since 1935 and was publicly announced later that year. The aria, titled Alles mit Gott und nichts ohn' ihn, sets a 12-stanza poem by Johann Anton Mylius, a contemporary , which translates and expands on the duke's personal Latin motto, "Omnia cum Deo et nihil sine eo" (Everything with and nothing without him). Scored for solo soprano, two violins, viola, and , it follows a where the same vocal melody accompanies each over continuo, followed by an instrumental played by the full string ensemble. The elaborate opening incorporates lively string writing that evokes the celebratory and courtly atmosphere of the period, structurally resembling elements of Bach's contemporaneous Hunting Cantata (BWV 208), also composed for the same occasion. The complete performance of all 12 stanzas lasts approximately 48 minutes, making it a substantial occasional piece. Authenticity was swiftly confirmed through analysis of the handwriting, paper, and musical style consistent with Bach's early Weimar output, leading to its assignment as BWV 1127 in the revised catalogue that year. The first complete recording, featuring all 12 stanzas, was made by with the English Baroque Soloists and soprano Katharine Fuge in 2005, released on the label in 2006. As Bach's only surviving complete strophic , BWV 1127 holds significant scholarly value for illuminating his early compositional techniques in secular, celebratory music, bridging his duties and emerging vocal style at the court. It exemplifies Bach's adaptation of Italianate forms like the strophic with , tailored to a courtly context, and remains a rare intact example of his occasional works from this period.

Other 20th-Century Additions to BWV for Vocal Works

In the second half of the , the BWV catalogue was expanded through revisions that incorporated newly identified or reattributed works, including a small number of vocal pieces assigned BWV numbers 1081–1126 based on discoveries and scholarly reevaluations post-1950. These additions, primarily fragments or excerpts from larger sacred compositions, were formally integrated into the revised edition BWV²a published in 1998 by the Institute and the Bach-Archiv . Among them, vocal works with song-like or characteristics are limited, often incomplete, and derived from cantatas, , or masses rather than standalone ; authenticity varies, with some confirmed by autographs and others debated due to stylistic similarities to Bach's output or potential attributions to contemporaries. Unlike the canonical in BWV 439–524, these pieces emphasize settings or brief solo/duet movements, reflecting Bach's practice of adapting or incorporating material into liturgical contexts. A prominent example is BWV 1083, Tilge, Höchster, meine Sünden ("Efface, Highest One, my sins"), a for two sopranos and strings, composed circa 1743–1746 as a of Giovanni Battista Pergolesi's Stabat Mater (1736) using a German of Psalm 51. The work's five movements feature aria-like structures, including expressive that highlight penitential themes, and its authenticity is undisputed, supported by Bach's autograph score discovered in the but catalogued under BWV in the 20th-century revision. Similarly, BWV 1088, an for bass soloist titled So heb ich denn mein Auge sehnlich auf ("Thus I now lift my eyes longingly"), survives as a single-movement fragment from a lost Passion , likely dating to the ; it exhibits Bach's characteristic lyrical style in a recitative-arioso form, with authenticity affirmed by the manuscript's provenance, though no complete context remains. BWV 1081, in unum Deum, represents a choral movement for voices and in , possibly extracted from a lost or ; its addition stems from a 20th-century reevaluation of sources linking it stylistically to Bach, though authenticity is contested, as it may originate from a Missa brevis by Bassani with Bach's modifications. The piece's homophonic texture aligns with Bach's practices but lacks the elaborate development of his mature vocal output. Other relevant additions include BWV 1122–1126, a series of four-part from newly sourced manuscripts, such as Denket doch, ihr Menschenkinder (BWV 1122); these are authentic vocal settings but fragmentary and -focused rather than -oriented. Overall, these works underscore the ongoing scholarly efforts to reconstruct Bach's oeuvre, with no major new vocal additions beyond BWV 1127 reported by the Bach-Archiv as of 2025.

Doubtful and Attributed Works (BWV Anh. II)

Selections from Deutsche Übersetzungen und Gedichte (BWV Anh. 32–39)

The selections catalogued as BWV Anh. 32–39 comprise eight strophic songs for voice and , drawn from the anonymous musical settings in the edition of Christian Hofmann von Hofmannswaldau's Deutsche Übersetzungen und Gedichte, a collection of German translations of and other poetic texts. These works were attributed to Johann Sebastian Bach in early 20th-century catalogues, possibly reflecting his early compositional activity around in or , but modern scholarship regards the attribution as doubtful due to stylistic discrepancies, including simpler harmonic progressions and less contrapuntal density than characteristic of Bach's mature vocal output. The songs' sacred themes derive from psalm-inspired texts emphasizing spiritual consolation, yet they lack the intricate theological depth and influences typical of Bach's confirmed sacred songs. Included in the appendices of the original 1950 (BWV) as doubtful compositions, these pieces were retained in the 1998 revised edition under Anhang II for spurious and attributed vocal works, primarily owing to the absence of any or contemporary manuscript evidence associating them with Bach. Their , with repeated melodies over multiple verses and minimal variation, suits domestic or devotional performance but contrasts with Bach's preference for more elaborate structures in similar sacred contexts. Attributions to contemporaries like have been proposed based on shared galant traits and simpler bass lines, though no definitive has been identified. The specific songs are as follows, each with psalm-derived texts focusing on themes of , , and divine protection:
  • BWV Anh. 32: "Getrost mein Geist" – A consolatory invoking resilience amid "wind and weather," set in a straightforward strophic ; doubts arise from its rudimentary phrasing, lacking Bach's rhythmic complexity.
  • BWV Anh. 33: "Mein , spare nicht" – Plea for Christ's mercy, with repetitive bass support; the simplicity and absence of fugal elements deviate from Bach's style.
  • BWV Anh. 34: "Kann ich mit einem Tone" – Reflection on praising through song, emphasizing vocal expression; stylistic mismatches include limited melodic development.
  • BWV Anh. 35: "Meine Seele, lass die Flügel" – Exhortation to elevate the soul, using light, ascending lines; the work's brevity and plain continuo undermine Bach attribution.
  • BWV Anh. 36: "Ich stimm' itzund ein Straff-Lied an" – celebration song, with jubilant text; doubts stem from its folksong-like simplicity, unlike Bach's adaptations.
  • BWV Anh. 37: "Der schwarze Flügel trüber Nacht" – Evening against , evoking ; the modal inflections and sparse texture suggest a non-Bach hand.
  • BWV Anh. 38: "Das Finsterniß tritt ein" – Evening song depicting the onset of , with contemplative ; its simple structure and lack of contrapuntal elements contribute to doubts about Bach's authorship.
  • BWV Anh. 39: "Ach was wollt ihr trüben Sinnen" – Admonition against melancholy thoughts, set to an upbeat strophic tune; the repetitive motifs and plainness deviate from Bach's expressive style.
These pieces, while musically modest, highlight the challenges of attribution in , where printed anthologies often omitted composer credits, leading to later speculative links to prominent figures like Bach. Their current status remains doubtful, with performance editions available but rarely programmed as authentic Bach works.

Selections from Singende Muse an der Pleiße (BWV Anh. 40–41)

The Singende Muse an der Pleiße is a popular collection of secular songs published in , with the first edition appearing in 1736 under the editorship of Johann Sigismund Scholze (pseudonym Sperontes), though later editions and continuations extended into the 1740s. The anthology features strophic odes with melodies adapted from contemporary instrumental works, set for voice and , aimed at amateur musicians and reflecting the emerging in German song literature. Two pieces from this collection have been questionably attributed to Johann Sebastian Bach in some historical editions and catalogues, catalogued as BWV Anh. 40–41 in the BWV annex for doubtful vocal works, but no direct manuscript evidence or contemporary documentation links them to Bach's hand. These simple arias, with celebratory and amorous texts, exhibit a light, homophonic texture and melodic simplicity that diverge from Bach's characteristic contrapuntal complexity and depth, particularly in his later period. Scholars suggest possible authorship by other contemporaries such as Heinrich Stölzel or members of the local musical circle, given the collection's collaborative nature involving composers like and . The attributed pieces include:
  • BWV Anh. 40: "Ich bin nun wie ich bin" – A or expressing contentment in one's state, with a lost text in some sources but preserved melody in ; the piece's straightforward harmonic progression and absence of Bach's signature motivic development contribute to regarding attribution.
  • BWV Anh. 41: "Dir zu Liebe, wertes Herze" – An affectionate for voice, praising a beloved heart, in a gentle minuet-like ; its sentimental tone and simple accompaniment reflect the collection's domestic appeal, but stylistic analysis post-1998, including comparisons to verified Bach secular works, leans against his authorship owing to insufficient complexity and provenance gaps.
These selections were first included in the BWV catalogue's annex II for doubtful works in the 1950 edition by Schmieder, reflecting early 20th-century attributions based on stylistic guesswork and local connections, as Bach resided there during the collection's publication. However, subsequent scholarship, including examinations of the original prints and comparative analyses, has increasingly viewed the links as unconvincing, emphasizing the anthology's anonymous or multi-author origins rather than a specific Bach contribution. Despite the doubts, these pieces highlight potential secular vocal output in Bach's orbit, offering insight into the lighter musical culture of 18th-century , though their unverified status keeps them outside the core canon.

Spurious and Miscellaneous Single Arias

Spurious Work from BWV Anh. III (BWV Anh. 158)

BWV Anh. 158 is an titled "Andro dall' colle al prato" (I go from the hill to the meadow), composed for solo with two flutes, two violins, viola, and continuo. The text is secular, drawn from imagery, and the style reflects mid-18th-century conventions with lyrical melody and light accompaniment. The work survives in an 18th-century manuscript, the Warb G 4 collection held at the Leipzig University Library, where it was erroneously ascribed to Johann Sebastian Bach. In reality, the aria originates from Johann Christian Bach's Orione ossia Diana vendicata, premiered in 1763, marking it as a product of the younger Bach's rather than J.S. Bach's. Authenticity was questioned soon after its initial attribution, with its inclusion in the Breitkopf & Härtel thematic catalog of 1767 already noting ambiguity by listing it under "Bach nell' , Orione." It appeared in the 19th-century Bach-Gesellschaft edition (BG XI/2) as a purported from a lost , perpetuating the error until scholarly scrutiny rejected it due to stylistic mismatches, such as the absence of J.S. Bach's characteristic and complexity. Wolfgang Schmieder's (1950) formally placed it in Anh. III as spurious, a classification reaffirmed in the 1990 revision. Today, BWV Anh. 158 is definitively attributed to Johann Christian Bach and excluded from J.S. Bach's oeuvre, illustrating common misattributions in vocal music stemming from familial naming conventions and incomplete documentation.

Isolated Arias Assigned Individual BWV Numbers

Isolated arias assigned individual BWV numbers encompass a select group of standalone vocal compositions by Johann Sebastian Bach, primarily concert arias and solo cantatas designed for a single singer accompanied by or continuo. These works, composed during Bach's , , and periods, demonstrate his skill in crafting concise, expressive pieces for concert performance or special occasions, often blending sacred and secular elements without integration into larger multi-movement structures like full s or passions. Unlike arias embedded within extended vocal works, these pieces survived and were catalogued independently due to their self-contained nature and occasional rediscovery in manuscripts, allowing them unique BWV designations outside the primary cantata sequences (BWV 1–224). They highlight Bach's versatility in Italianate and German styles, with elaborate obbligato parts for instruments such as , , or enhancing the soloist's virtuosity. Representative examples include the following, selected for their distinctiveness and historical significance. Each is a complete work in one or two movements, typically comprising and , performed by a solo voice.
BWVTitleVoiceKeyOccasion/YearNotes
51Jauchzet Gott in allen Landen!18th Sunday after / ca. 1730Virtuosic sacred with trumpet obbligato; opens with a jubilant praising God, followed by and closing alleluia; composed in for liturgical use but suitable for .
82Ich habe genugBassC minorFeast of Purification / 1727Iconic sacred solo expressing longing for death as release; features a poignant opening with obbligato ; multiple versions exist, including soprano adaptation in Anna Magdalena's (BWV 82 variant).
84Ich bin vergnügt mit meinem GlückeFeast of Purification / 1727 of BWV 208 ; secular-tinged sacred work with obbligato, celebrating contentment; brief leads to a lively closing .
202Weichet nur, betrübte SchattenPossible wedding / ca. 1718Weimar-era secular on love and spring renewal; obbligato adds pastoral charm; structure includes framing two da .
209Non sa che sia doloreFarewell for departing scholar / ca. 1734Rare Italian-text secular ; precedes and on sorrow and constancy; and strings provide elegant support.
210O holder Tag, erwünschte Zeit or / ca. 1740 of BWV 30a; secular praise with festive and ; later adaptation of BWV 209 elements, emphasizing and .
These arias, totaling around a dozen in Bach's output, were often parodied from or into other works, reflecting his practice of musical , but their isolation as independent compositions underscores their performability in diverse settings from church to .

References

  1. https://imslp.org/wiki/Songs_and_Arias%2C_BWV_439-518_%28Bach%2C_Johann_Sebastian%29
  2. https://www.bach-cantatas.com/Vocal/BWV439-507-Gen.htm
  3. https://www.bach-digital.de/receive/BachDigitalSource_source_00025426
  4. https://imslp.org/wiki/Bist_du_bei_mir%2C_BWV_508_%28Bach%2C_Johann_Sebastian%29
  5. https://www.cambridge.org/core/journals/eighteenth-century-music/article/modifying-the-da-capo-throughcomposed-arias-in-vocal-works-by-bach-and-other-composers/A7964040E6CC0061D414311A18DA774A
  6. https://alg.manifoldapp.org/read/understanding-music-past-and-present/section/63d3e07d-dda0-406b-aba7-5096d5290791/resource/492f0f76-b56d-4def-bbf8-99a234d5a19e
  7. https://www.earlymusicworld.com/bach-s-sacred-cantatas
  8. https://discoverclassical.org/bach/index.htm
  9. http://blogs.longwood.edu/smalleygdprofessionaleportfolio/files/2020/09/Johann-Sebastian-Bach-and-his-Influence-on-Vocal-Music.pdf
  10. https://www.bach-cantatas.com/Vocal/BWV508-523.htm
  11. https://archive.org/details/bachwerkeverzeic0000unse
  12. https://www.historyofinformation.com/detail.php?id=2639
  13. http://bpl.rf.gd/bwv-review.htm
  14. https://www.bach-cantatas.com/Texts/Chorale126-Eng3.htm
  15. https://www.bach-cantatas.com/Texts/Chorale450-Eng3.htm
  16. https://www.bach-digital.de/receive/BachDigitalSource_source_00001136
  17. https://www.henle.de/en/Notebook-for-Anna-Magdalena-Bach/HN-1349
  18. https://www.bach-cantatas.com/Vocal/BWV508-523-Gen.htm
  19. https://oslmusic.org/bach_posts/bist-du-bei-mir-an-iconic-love-song/
  20. https://www.bach-digital.de/receive/BachDigitalWork_work_00000590
  21. https://www.bach-digital.de/receive/BachDigitalSource_source_00001776
  22. https://www.bach-cantatas.com/Topics/Chorale-Collections.htm
  23. https://imslp.org/wiki/Quodlibet%2C_BWV_524_%28Bach%2C_Johann_Sebastian%29
  24. https://www.bach-cantatas.com/Articles/BWV524Quodlibet%5BBraatz%5D.htm
  25. https://www.bach-cantatas.com/Vocal/BWV524-Gen.htm
  26. https://www.bachvereniging.nl/en/bwv/bwv-524
  27. https://www.barenreiter.com/en/shop/urtext-editions/bach-j-s/alles-mit-gott-und-nichts-ohn-ihn/BA.BA05246.html
  28. https://www.bach-digital.de/receive/BachDigitalWork_work_00001307
  29. https://www.bacharchivleipzig.de/en/bach-archive/expedition-bach
  30. https://www.monteverdi.co.uk/downloads/sdg114.pdf
  31. https://www.bach-cantatas.com/Vocal/BWV1127-Gen.htm
  32. https://www.prestomusic.com/classical/products/7939785--j-s-bach-alles-mit-gott-und-nichts-ohn-ihm-bwv-1127-cantata-selections
  33. https://www.bach-cantatas.com/Vocal/BWV1083.htm
  34. https://www.bach-cantatas.com/Vocal/BWV1088.htm
  35. https://imslp.org/wiki/7_Geistliche_Oden_und_ein_Gedicht%2C_BWV_Anh.32-39_%28Bach%2C_Johann_Sebastian%29
  36. https://tobis-notenarchiv.de/wp/en/bach-archive/supplement/supplement-ii-doubtful-works/
  37. https://www.bach-cantatas.com/Lib/Sperontes.htm
  38. https://americanbachsociety.org/meetings/madison_abstracts.html
  39. https://imslp.org/wiki/Ich_bin_nun_wie_ich_bin%2C_BWV_Anh.40_%28Bach%2C_Johann_Sebastian%29
  40. https://imslp.org/wiki/Dir_zu_Liebe%2C_wertes_Herze%2C_BWV_Anh.41_%28Bach%2C_Johann_Sebastian%29
  41. https://americanbachsociety.org/Newsletters/BachNotes12.pdf
  42. https://www.bach-digital.de/receive/BachDigitalWork_work_00011143
  43. https://www.bach-digital.de/receive/BachDigitalSource_source_00025799
  44. https://www.gutenberg.org/files/35041/35041-pdf.pdf
  45. https://www.bach-cantatas.com/BWV210.htm
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