Dietel manuscript

The Dietel manuscript, D-LEb Peters Ms. R 18, also known as the Dietel Collection and, in German, Choralsammlung Dietel, is the oldest extant manuscript with a large collection of four-part chorales by Johann Sebastian Bach. It contains 149 of Bach's chorale harmonisations (not 150 as is written on its title page) and originated around 1735. The music in the manuscript was copied by Johann Ludwig Dietel, one of Bach's pupils from the Thomasschule.[1][2][3][4]

Context

In 1727, at age 13, Johann Ludwig Dietel became a pupil of the St Thomas School in Leipzig.[5] His oldest extant work as copyist of Johann Sebastian Bach's music dates from two years later (performance parts of BWV 120.2 and 174).[6][7][8] By then, mid 1729, Bach had just begun his seventh year as cantor at St Thomas, and had already composed hundreds of church cantatas, the St John and St Matthew Passions, and several motets: all of these are sacred compositions mostly containing one or more four-part harmonisations of Lutheran chorale melodies, setting the text of usually one, and sometimes two, stanzas of a Lutheran hymn, to be sung by a SATB choir.[9][10][11][12] Apart from these four-part chorales which are movements in larger-scale compositions, Bach also wrote such SATB settings of hymn tunes down in, for instance, the Notebook for Anna Magdalena Bach (begun 1725), and the Three Wedding Chorales manuscript (1730s).[13][14] In Bach's autographs, four-part chorale harmonisations are characteristically written down with a colla parte instrumentation and figured bass accompaniment, sometimes also with interludes connecting the phrases of the hymn or independent instrumental figuration, and more exceptionally, for instance the "Dir, dir, Jehova, will ich singen" chorale in Anna Magdalena's notebook, as a piece exclusively for four singing voices.[13][14]

In the Autumn of 1729 Dietel worked on the performance parts of BWV 201, one of Bach's secular cantatas.[15][16] His work on the performance material of Johann Bernhard Bach's overtures in D major (BNB I/B/4) and G major (BNB I/B/6) is from slightly later.[15][17][18] In August 1730 Johann Sebastian ranged Dietel among those singers of the school who were fit to perform the solo parts of his church music.[19][20] On New Year's Day 1731, or, less likely, a year earlier, Carl Gotthelf Gerlach performed Gehet zu seinen Toren ein mit Danken, FWV D:G1 (=FR 9/2), a church cantata for New Year by Johann Friedrich Fasch.[21][22][23] Dietel had copied the score for this performance.[24][23][25] Both Dietel and Gerlach, who was nearly a decade older, were born in Calbitz: this, and the fact that they were distant relatives, may explain how they became close in Leipzig.[5][26][27] Gerlach had become a student of the St Thomas school in 1716, which he still was when Bach moved into the school buildings as cantor in 1723.[26][28] From 1727 Gerlach studied at Leipzig University.[26] In 1729 Georg Balthasar Schott, who until then had been the music director of Leipzig University's church, that is the New Church (German: Neukirche), and of the Collegium Musicum founded by Telemann, left for a position in Gotha: Bach, who as music director of Leipzig's principal churches had some say on the matter, manoeuvred his former pupil Gerlach in the position of music director and organist at the Neukirche, while he assumed himself the leadership of the Collegium Musicum.[26][29]

In 1731 Dietel helped copy out the performance parts of two further church cantatas by Johann Sebastian Bach (BWV 112 and 29).[30][31][32] Late 1731 or early 1732 Dietel copied the score of Bach's early church cantata BWV 196, followed, before 25 March 1732, by a copy of the score of the Gottes und Marien Kind cantata attributed to Fasch (FWV D:G3, FR 1400).[33][34][35][36] From 1733 to 1734 Dietel copied performance material for three more secular cantatas by Bach (BWV 213, 214 and 215).[30][37][38][39] Further manuscript copies by Dietel from around 1734:[40]

  • Organ and continuo performance parts of the Sanctus in B major, BWV Anh. 28.[41]
  • For a performance on Reformation Day 31 October 1734: score of Welt und Teufel tobt ihr noch, another cantata attributed to Fasch (FWV D:W2, FR 1401).[42][43]
  • A series of cantatas by Nicola Porpora, copied in collaboration with Gerlach, possibly for a performance by the latter as singer.[44]

In 1734, or possibly 1735, Dietel copied the organ part of BWV 100, a chorale cantata by Bach.[45][46] Bach presented his Christmas Oratorio, BWV 248, for the first time as a set of six cantatas, each of these performed on one of the six Feast Days and Sundays from 25 December 1734 to 6 January 1735.[47] For two of these cantatas, those for New Year's Day (No. IV) and Epiphany (No. VI), Dietel was the main copyist of the performance material.[30][48][49] On 30 January 1735 Bach premiered his cantata BWV 14.[1][50] Likely some time after that, the closing chorale of BWV 14 being its most recent datable entry, Dietel started the manuscript named after him, which contains 149 four-part chorales copied from manuscripts with compositions by Bach.[1][19] By that time Dietel belonged to the inner circle of Bach's pupils who had broad access to the composer's musical library.[51]

Who asked Dietel to produce the chorale collection, and also, for what purpose it was penned, are questions for which the answer can not be ascertained. It would have been highly unlikely that Dietel took the initiative for the collection: copying music was generally not done without remuneration. The manuscript contained many errors and inaccuracies, none of which were corrected by Bach, something the composer would normally have done if he had commissioned this copy of his music. On the other hand, Dietel had produced many manuscripts for Gerlach, for instance the Fasch cantatas for performance at the Neukirche, and would continue to collaborate with him, for instance also in 1735 (or later) on performance material for Bach's Sanctus BWV 238. In 1736 Dietel started his studies at Leipzig University, and like that earlier main copyist of Bach's music, Johann Andreas Kuhnau, had done a decade earlier, he continued to work for the music director of the Neukirche while discontinuing to work for Bach, after the switch from St Thomas school to University.[52][53]

Content

Dietel's manuscript, R 18, contains 149 SATB settings, without instrumental accompaniment or interludes, of chorale tunes.[1][54] Two settings, Nos. 119 and 134, are identical,[55][56] thus the collection contains 148 unique settings.[57] A few settings are related, but not identical:

  • Nos. 1 (variant of BWV 117/4)[58] and 100 (BWV 117/4)[59]
  • Nos. 88 (BWV 8/6)[60] and 148 (BWV deest – similar to BWV 8/6, but with a different harmonic progression)[61]

All settings are by Bach and/or feature in larger-scale compositions by Bach.[62] Two settings are strictly speaking not by Bach:[63]

In general, Bach based his harmonisations on pre-existing hymn tunes. There are, however, some hymn tunes (or versions thereof) for which there appear to be no earlier extant sources than Bach's compositions. In the Dietel manuscript:

A couple of settings in the Dietel manuscript are SATB versions of voice and continuo settings found in Schemellis Gesangbuch (1736):[73]

  • BWV 452, the Schemelli version of "Dir, dir, Jehova, will ich singen", appears to have been derived from the four-part setting BWV 299 [2] as found in R 18 No. 6;[67]
  • The four-part version of "Auf, auf, mein Herz, mit Freuden" as found in the Dietel manuscript (No. 95) appears to be an arrangement of the Schemelli version (BWV 441)[74]

Also the R 18 No. 148 version of "Liebster Gott, wenn werd ich sterben" appears to be related to the Schemelli variant BWV 483.[61] R 18 No. 48 shares its soprano (S) and bass (B) lines with BWV 512 from Schemellis Gesangbuch.[70]

Around two thirds of the settings in the Dietel manuscript can also be found in Bach's extant cantatas, motets, Passions and oratorios.[65] Many of the chorale settings for which R 18 is the earliest extant source may derive from lost larger works, such as the St Mark Passion, BWV 247, of 1731, and several cantatas of the Picander cycle of 1728–29.[75] However, not all four-part chorales of the Dietel collection originated in such larger works (e.g., BWV 299).[65] Also, Bach re-used some chorale settings in several works (e.g., BWV 75/7 = BWV 100/6) so that it can't always exactly be determined from which original Dietel copied in his collection.[56]

All chorales have a number (however with collation errors),[57] and, except for No. 145, a title referring to a text of a Lutheran hymn, but are otherwise untexted.[62] The titles in R 18 do not always refer to the hymns from which stanzas are extracted in musically corresponding movements of larger works.[62] There is no over-all organisational principle for the collation, but some ranges appear to have some logic: for example, the range from Nos. 67 to 96 follows through the liturgical year, more or less consequentially, from the fourth Sunday after Trinity to the first Sunday of Advent.[56]

Legend to the table
column content links to
1 # Number of the chorale in the Dietel manuscript: modern numbering as used by Smend[76] and NBE,[77] followed by, if different, number in the manuscript[78] in parentheses. Page on the chorale at the www.bach-chorales.com website
2 Title (in Dietel manuscript) Title of the chorale in the Dietel manuscript (for No. 145: conventional title in parentheses) Page on the Dietel version of the chorale at IMSLP website
3 Zahn Zahn number of the hymn tune used in the chorale harmonisation.[79] Description of the Lutheran chorale melody (if available), or further information on the Zahn number
4 BWV BWV number Bach Digital page on the Dietel version of the chorale
5 Occasion Occasion of the liturgical year for which the chorale setting was (probably) written Occasion as explained at Church cantata (Bach) or Passions (Bach)
6 Year (Probable) year of first performance —
7 M-D (Probable) month and day of first performance —
8 Other info Additional info Pages on larger vocal works, on chorales, etc
Four-part chorales in the Dietel manuscript
# Title (in Dietel manuscript) Zahn BWV Occasion Year M-D Other info
001 Sei Lob und Ehr dem höchsten Gut 4430 0117/4
0(var)		 Birthday? c. 1728–
1731		 Variant of BWV 117/4 (Dietel No. 100)
002 Allein Gott in der Höh sei Ehr 4457 0260 Easter II? ≤c. 1735 Apr.–
May?
003 Ein feste Burg ist unser Gott 7377 0303 Oculi? 1715? 03-24? Stanza 2 ("Mit unser Macht ist nichts getan") in BWV 80.1/6
004 Du Friedefürst, Herr Jesu Christ 4373 0067/7 Easter I 1724 04-16 Stanza 1 in BWV 67/7
005 Das alte Jahr vergangen ist 0381 0288 New Year ≤c. 1735 01-01
006 Dir, dir, Jehova, will ich singen 3068 0299 (2) ≤c. 1735 Hymn tune attributed to Bach
007 Jesu, nun sei gepreiset 8477a 0362 New Year? ≤c. 1735 01-01?
008 Helft mir, Gotts Güte preisen 5267 0028/6 Christmas I 1725 12-30 Stanza 12 ("All solch dein Güt wir preisen") in BWV 28/6
009 Ich bin ja, Herr, in deiner Macht 5878a 0345 ≤c. 1735 Hymn tune attributed to Bach
010 Ach Gott, vom Himmel sieh darein 4431 0077/6 Trinity XIII 1723 08-22 Presumably stanza 8 ("Du stellst, Herr Jesu, selber dich zum Vorbild deiner Liebe") from "Wenn einer alle Ding verstünd" in BWV 77/6
011 Weg, mein Herz, mit den Gedenken 6543 0025/6 Trinity XIV 1723 08-29 Stanza 12 ("Ich will alle meine Tage") from "Treuer Gott, ich muss dir klagen" in BWV 25/6
012 Jesu, meine Freude 8032 0064/8 Christmas 3 1723 12-27 Stanza 5 ("Gute Nacht, o Wesen") in BWV 64/8
013 Gelobet seist du, Jesu Christ 1947 0064/2 Christmas 3 1723 12-27 Stanza 7 ("Das hat er alles uns getan") in BWV 64/2
014
0(13)		 Was frag ich nach der Welt 5206b–c 0064/4 Christmas 3 1723 12-27 Stanza 1 in BWV 64/4
015
0(14)		 O Herre Gott, dein göttlich Wort 5690 0184.2/5 Pentecost 3 1724 05-30 Stanza 8 ("Herr, ich hoff je, du werdest die") in BWV 184.2/5
016 Komm, Heiliger Geist, Herre Gott 7445a 0226/2 Funeral 1729 10-20 Stanza 3 ("Du heilige Brunst, süßer Trost") in BWV 226/2
017
0(16)		 Wachet auf, ruft uns die Stimme 8405a 0140/7 Trinity XXVII 1731 11-25 Stanza 3 ("Gloria sei dir gesungen") in BWV 140/7
018 Jesu, deine tiefen Wunden 6543 0194.2/6 Consecration 1723 11-02 Stanzas 6 ("Heilger Geist ins Himmels Throne") and 7 from "Treuer Gott, ich muß dir klagen" in BWV 194.2/6 = BWV 194.3/6
0194.3/6 Trinity 1724 06-04
019 Nun lasst uns Gott dem Herren 0159 0194.2/12 Consecration 1723 11-02 Stanzas 9 ("Sprich Ja zu meinen Taten") and 10 from "Wach auf, mein Herz, und singe" in BWV 194.2/12 = BWV 194.3/12
0194.3/12 Trinity 1724 06-04
020 Verleih uns Frieden gnädiglich 1945a–b 0042/7 Easter I 1725 04-08 Stanzas 1 and 2 in BWV 42/7
021 Jesu, meine Freude 8032 0227/7 <1730? Stanza 4 ("Weg, weg mit allen Schätzen") in BWV 227/7
022 Es ist gewisslich an der Zeit 4429a 0307 ≤c. 1735
023 O Ewigkeit, du Donnerwort 5820 0397 Trinity X? 1728? 08-15? Stanza 13 ("Wach auf, o Mensch, vom Sünderschlaf") is closing chorale of Picander cycle No. 53
Passion? 1731? 03-23? Stanza 13 ("Wach auf, o Mensch, vom Sünderschlaf") in BWV 247/17
024 Christ lag in Todes Banden 7012a 0158/4 Easter 3 c. 1725–
1735		 Mar.–
Apr.		 Stanza 5 ("Hier ist das rechte Osterlamm") in BWV 158/4
025 Schmücke dich, o liebe Seele 6923 0180/7 Trinity XX 1724 10-22 Stanza 9 ("Jesu, wahres Brot des Lebens") in BWV 180/7
026 Ach Gott, vom Himmel sieh darein 4431 0002/6 Trinity II 1724 06-18 Stanza 6 ("Das wollst du, Gott, bewahren rein") in BWV 2/6
027 Straf mich nicht in deinem Zorn 6274a 0115/6 Trinity XXII 1724 11-05 Stanza 10 ("Drum so laßt uns immerdar") from "Mache dich, mein Geist, bereit" in BWV 115/6
028 Ach Gott, wie manches Herzeleid 0533a 0003/6 Epiphany II 1725 01-14 Stanza 18 ("Erhalt mein Herz im Glauben rein") in BWV 3/6
029 Jesu, der du meine Seele 6804 0353 ≤c. 1735
030 Wer weiß, wie nahe mir mein Ende 2778 0084/5 Septuagesima 1727 02-09 Stanza 12 ("Ich leb indes in dir vergnüget") in BWV 84/5
031 Jesu, meine Freude 8032 0227/1
0227/11		 <1730? Stanza 1 and 6 ("Weicht, ihr Trauergeister") in BWV 227/1 and 227/11
032 Jesu, meine Freude 8032 0227/3 <1730? Stanza 2 ("Unter deinen Schirmen") in BWV 227/3
033 Wie schön leuchtet der Morgenstern 8359 0036.4/5 Advent I c. 1726–
1730		 Nov.–
Dec.		 Stanza 7 ("Wie bin ich doch so hertzlich fro") in BWV 36.4/5
034 Befiehl du deine Wege 5385a 0161/6 Trinity XVI 1716 09-27 Stanza 4 ("Der Leib zwar in der Erden") from "Herzlich tut mich verlangen" in BWV 161/6
035 Ein feste Burg ist unser Gott 7377 0080/8 Reformation c. 1729–
1731		 10-31 Stanza 4 ("Das Wort sie sollen lassen stahn") in BWV 80/8
036 Nun bitten wir den Heiligen Geist 2029a 0169/7 Trinity XVIII 1726 10-20 Stanza 3 ("Du süße Liebe, schenk uns deine Gunst") in BWV 169/7
037 Herr Jesu Christ, du höchstes Gut 4486 0048/3 Trinity XIX 1723 10-03 Stanza 4 ("Solls ja so sein") in BWV 48/3
038 Denket doch, ihr Menschenkinder — 1122 ≤c. 1735 Hymn tune attributed to Bach
039 Nun lob, mein Seel, den Herren 8244 0389 ≤c. 1735
040 Herr Jesu Christ, du höchstes Gut 4486 0048/7 Trinity XIX 1723 10-03 Stanza 12 ("Herr Jesu Christ, einiger Trost") from "Herr Jesu Christ, ich schrei zu dir" in BWV 48/7
041 Vater unser im Himmelreich 2561 0090/5 Trinity XXV 1723 11-14 Stanza 7 ("Leit uns mit deiner rechten Hand") from "Nimm von uns, Herr, du treuer Gott" in BWV 90/5
042 Jesu, meines Herzens Freud 4797–
4798		 0361 ≤c. 1735
043 Was Gott tut, das ist wohlgetan 5629 0144/3 Septuagesima 1724 02-06 Stanza 1 in BWV 144/3
044 Was mein Gott will, das gscheh allzeit 7568 0144/6 Septuagesima 1724 02-06 Stanza 1 in BWV 144/6
045 Eins ist not, ach Herr, dies Eine 7127 0304 ≤c. 1735
046 Es ist genung 7173 0060/5 Trinity XXIV 1723 11-07 Stanza 5 ("Es ist genug, Herr") in BWV 60/5
047 Wer weiß, wie nahe mir mein Ende 2778 0434 Trinity XV? 1728? 09-05? Stanza 12 ("Ich leb indes in Gott vergnüget") is closing chorale of Picander cycle No. 58
Epiphany II? 1729? 01-16? Stanza 4 ("Er kennt die rechte Freudenstunden") from "Wer nur den lieben Gott läßt walten" is closing chorale of Picander cycle No. 13
Septuagesima? 1729? 02-13? Stanza 7 ("Sing, bet und geh auf Gottes Wegen") from "Wer nur den lieben Gott läßt walten" is closing chorale of Picander cycle No. 19
048 Gib dich zufrieden und sei stille 7417a 0315 ≤c. 1735 Hymn tune attributed to Bach; S and B identical to those of BWV 512
049 Ich dank dir, lieber Herre 5354a–b 0348 Sexagesima? 1729? 02-20? Stanza 6 ("Dein Wort laß mich bekennen") is closing chorale of Picander cycle No. 20
050 Wo Gott zum Haus gibt nicht sein Gunst 0305 1123 ≤c. 1735
051 Mit Fried und Freud ich fahr dahin 3986 0382 Purification? 1729? 02-02? Stanza 1 is closing chorale of Picander cycle No. 16
052 Jesu Leiden, Pein und Tod 6288a–b 0159/5 Estomihi 1729 02-27 Stanza 33 ("Jesu, deine Passion ist mir lauter Freude") in BWV 159/5
053 Herzlich lieb hab ich dich, o Herr 8326 0340 ≤c. 1735
054 Herr Jesu Christ, ich schrei zu dir 4486 0334 Epiphany IV? 1729? 01-30? Stanza 3 ("Herr Jesu Christ, groß ist die Not") is closing chorale of Picander cycle No. 15
055 Das neugeborne Kindelein 0491 0122/6 Christmas I 1724 12-31 Stanza 5 ("Es bringt das rechte Jubeljahr") in BWV 122/6
056 Ich freue mich in dir 5187 0133/6 Christmas 3 1724 12-27 Stanza 4 ("Wohlan, so will ich mich") in BWV 133/6
057 O Welt, sieh hier dein Leben 2293b 0393 Passion? 1731? 03-23? Stanza 4 ("Ich, ich und meine Sünden") in BWV 247/13
058 Lobt Gott, ihr Christen, allzugleich 0198 0375 Epiphany? 1729? 01-06? Stanza 8 ("Heut schleußt er wieder auf die Tür") is closing chorale of Picander cycle No. 11
Annunciation? 1729? 03-25? Stanza 1 is closing chorale of Picander cycle No. 27
059 Wie schön leuchtet der Morgenstern 8359 0436 ≤c. 1735
060 Herr Jesu Christ, wahr' Mensch und Gott 2570 0127/5 Estomihi 1725 02-11 Stanza 8 ("Ach, Herr, vergib all unsre Schuld") in BWV 127/5
061 Wär Gott nicht mit uns diese Zeit 4441a 0257 Passion? 1731? 03-23? Stanza 2 ("Was Menschenkraft und -witz anfäht") from "Wo Gott der Herr nicht bei uns hält" in BWV 247/31
062 Befiehl du deine Wege 5385a 0270 Passion? 1731? 03-23? Stanza 1 in BWV 247/33, or /28: stanza 6 ("Ich will hier bei dir stehen") from "O Haupt voll Blut und Wunden"
063 Herr, ich habe missgehandelt 3695 0331 Passion? 1731? 03-23? Stanza 1 in BWV 247/37
064 Ein feste Burg ist unser Gott 7377 0302 Passion? 1731? 03-23? Stanza 4 ("Das Wort sie sollen lassen stahn") in BWV 247/42
065 Gelobet seist du, Jesu Christ 1947 0314 Christmastide? ≤c. 1735 Dec.–
Jan.?
066 Nun ruhen alle Wälder 2293b 0097/9 Trinity V? 1734? 07-25? Stanza 9 ("So sei nun, Seele, deine") from "In allen meinen Taten" in BWV 97/9
067 Ich ruf zu dir, Herr Jesu Christ 7400 0177/5 Trinity IV 1732 07-06 Stanza 5 ("Ich lieg im Streit und widerstreb") in BWV 177/5
068 Ich ruf zu dir, Herr Jesu Christ 7400 0185/6 Trinity IV 1715 07-14 Stanza 1 in BWV 185/6
069 Ich ruf zu dir, Herr Jesu Christ 7400 1124 Trinity IV? ≤c. 1735 Jun.–
Jul.?
070 Es ist das Heil uns kommen her 4430 0009/7 Trinity VI 1734? 08-01? Stanza 12 ("Ob sichs anließ, als wollt er nicht") in BWV 9/7
071 Jesu, der du meine Seele 6804 0105/6 Trinity IX 1723 07-25 Stanza 11 ("Nun, ich weiß, du wirst mir stillen") in BWV 105/6
072 Was frag ich nach der Welt 5206b–c 0094/8 Trinity IX 1724 08-06 Stanzas 7 ("Was frag ich nach der Welt! Im Hui ...") and 8 in BWV 94/8
073 Nimm von uns, Herr, du treuer Gott 2561 0101/7 Trinity X 1724 08-13 Stanza 7 ("Leit uns mit deiner rechten Hand") in BWV 101/7
074 Herr Jesu Christ, du höchstes Gut 4486 0113/8 Trinity XI 1724 08-20 Stanza 8 ("Stärk mich mit deinem Freudengeist") in BWV 113/8
075 Ich armer Mensch, ich armer Sünder 2778 0179/6 Trinity XI 1723 08-08 Stanza 1 in BWV 179/6
076 Was Gott tut, das ist wohlgetan 5629 0069.1/6 Trinity XII 1723 08-15 Stanza 6 ("Was Gott tut, das ist wohlgetan, darbei ...") in BWV 69.1/6
077 Hast du denn, Jesu, dein Angesicht gänzlich verborgen 1912a-c 0137/5 Trinity XII 1725 08-19 Stanza 5 ("Lobe den Herren, was in mir ist, lobe den Namen") from "Lobe den Herren, den mächtigen König der Ehren" in BWV 137/5
078 Wenn mein Stündlein vorhanden ist 4482a 0031/9 Easter 1715 04-21 Stanza 5 ("So fahr ich hin zu Jesu Christ") in BWV 31/9
079 Alleluja: Aus dem Lied "Christ ist erstanden" 8584 0066/6 Easter2 1724 04-10 Stanza 3 ("Alleluja") from "Christ ist erstanden" in BWV 66/6
080 Allein zu dir, Herr Jesu Christ 7292b 0033/6 Trinity XIII 1724 09-03 Stanza 4 ("Ehr sei Gott in dem höchsten Thron") in BWV 33/6
081 Nun lob, mein Seel, den Herren 8244 0390 Trinity XIV? ≤c. 1735 Aug.–
Sep.?
082 Herr Christ, der einge Gottes Sohn 4297a 0164/6 Trinity XIII 1725 08-26 Stanza 5 ("Ertöt uns durch dein Güte") in BWV 164/6
083 Herr Jesu Christ, meins Lebens Licht 0314b 0335 Trinity XIII? 1728? 08-22? Stanza 14 ("Wie werd ich doch [dann] so fröhlich sein") is closing chorale of Picander cycle No. 56
084 Jesu, der du meine Seele 6804 0078/7 Trinity XIV 1724 09-10 Stanza 12 ("Herr, ich glaube, hilf mir Schwachen") in BWV 78/7
085 Herr Gott, dich loben alle wir 0368 0130/6 Michaelmas 1724 09-29 Stanzas 11 ("Darum wir billig loben dich") and 12 in BWV 130/6
086 Meinen Jesum lass ich nicht 3449 0380 Easter I? 1729? 04-24? Stanza 1 is closing chorale of Picander cycle No. 31
Epiphany I? 1729? 01-09? Stanza 6 ("Jesum laß ich nicht von mir") is closing chorale of Picander cycle No. 12
Trinity XV? ≤c. 1735 Sep.?
087 Weg, mein Herz, mit den Gedanken 6543 0019/7 Michaelmas 1726 09-29 Stanza 9 ("Lass dein' Engel mit mir fahren") from "Freu dich sehr, o meine Seele" in BWV 19/7
088 Liebster Gott, wenn werd ich sterben 6634 0008/6 Trinity XVI 1724 09-24 Setting by Daniel Vetter;[63] Stanza 5 ("Herrscher über Tod und Leben") in BWV 8/6
089 Wenn mein Stündlein vorhanden ist 4482a 0095/7 Trinity XVI 1723 09-12 Stanza 4 ("Weil du vom Tod erstanden bist") in BWV 95/7
090 Warum betrübst du dich, mein Herz 1689a 0421 Trinity XVII? ≤c. 1735 Sep.–
Oct.?
091 Ach, lieben Christen, seid getrost 4441a 0114/7 Trinity XVII 1724 10-01 Stanza 6 ("Wir wachen oder schlafen ein") in BWV 114/7
092 Herr Christ, der einge Gottessohn 4297a 0096/6 Trinity XVIII 1724 10-08 Stanza 5 ("Ertöt uns durch dein Güte") in BWV 96/6
093 Auf meinen lieben Gott 2164 0005/7 Trinity XIX 1724 10-15 Stanza 11 ("Führ auch mein Herz und Sinn") in BWV 5/7
094 Aus tiefer Not schrei ich zu dir 4437 0038/6 Trinity XXI 1724 10-29 Stanza 5 ("Ob bei uns ist der Sünden viel") in BWV 38/6
095 Auf, auf, mein Herz, mit Freuden 5243 0441* ≤c. 1735 Four-part version of BWV 441 (Schemellis Gesangbuch No. 320)
096 Nun komm, der Heiden Heiland 1174 0062/6 Advent I 1724 12-03 Stanza 8 ("Lob sei Gott dem Vater ton") in BWV 62/6
097 Wenn mein Stündlein vorhanden ist 4482a 0430 Passion? 1731? 03-23? Stanza 1 from "Betrübtes Herz sei wohlgemut" in BWV 247/19
098 Kommt her zu mir, spricht Gottes Sohn 2496b 0108/6 Easter IV 1725 04-29 Stanza 10 ("Dein Geist, den Gott von Himmel gibt") from "Gott Vater, sende deinen Geist" in BWV 108/6
099 Es woll uns Gott genädig sein 7247 0312 Epiphany V? 1729? 02-06? Stanza 3 ("Es dancke Got und lobe dich") is closing chorale of Picander cycle No. 17
100 Sei Lob und Ehr dem höchsten Gut 4430 0117/4
0117/9		 Birthday? c. 1728–
1731		 Stanzas 4 ("Ich rief dem Herrn in meiner Not") and 9 ("So kommet vor sein Angesicht") in BWV 117/4 and /9; See also variant Dietel No. 1
101 Der Herr ist mein getreuer Hirt 4457 0112/5 Easter II 1731 04-08 Stanza 5 ("Gutes und die Barmherzigkeit") in BWV 112/5
102 Ich hab in Gottes Herz und Sinn 7568 0103/6 Easter III 1725 04-22 Stanza 9 ("Ich hab dich einen Augenblick") from "Barmherzger Vater, höchster Gott" in BWV 103/6
103 Was Gott tut, das ist wohlgetan 5629 0075/7
0075/14		 Trinity I 1723 05-30 Stanzas 5 ("Was Gott tut, das ist wohlgetan; Muß ich den Kelch ...") and 6 ("Was Gott tut, das ist wohlgetan, Dabei will ich ...") in BWV 75/7 and /14
0100/6 c. 1734–
1735		 Stanza 6 ("Was Gott tut, das ist wohlgetan, Dabei will ich ...") in BWV 100/6
104 Jesu, meiner Seelen Wonne 6551a 0360 Trinity XI? 1728? 08-08? Stanza 6 ("Bin ich gleich von dir gewichen") is closing chorale of Picander cycle No. 54
Easter IV? ≤c. 1735 Apr.–
May?
105 Jesu, meine Freude 8032 0087/7 Easter V 1725 05-06 Stanza 9 ("Muß ich sein betrübet?") from "Selig ist die Seele" in BWV 87/7
106 Ist Gott mein Schild und Helfersmann 2542 0085/6 Easter II 1725 04-15 Stanza 4 ("Ist Gott mein Schutz und treuer Hirt") in BWV 85/6
107 Du Lebensfürst, Herr Jesu Christ 5741b 0043/11 Ascension 1726 05-30 Setting by Christoph Peter;[63] Stanzas 1 and 13 in BWV 43/11
108 Nun ruhen alle Wälder 2293b 0044/7 Ascension I 1724 05-21 Stanza 7 ("So sei nun, Seele, deine") from "In allen meinen Taten" in BWV 44/7
109 Nun bitten wir den Heiligen Geist 2029a 0385 Trinity XVIII? 1728? 09-26? Stanza 3 ("Du süße Lieb, schenk uns deine Gunst") is closing chorale of Picander cycle No. 61
Pentecost? ≤c. 1735 May–
Jun.?
110 Komm, Heiliger Geist, Herre Gott 7445a 0175/7 Pentecost 3 1725 05-22 Stanza 9 ("Nun, werter Geist, ich folg dir") from "O Gottes Geist, mein Trost und Rat" in BWV 175/7
111 Herzlich lieb hab ich dich, o Herr 8326 0174/5 Pentecost 2 1729 06-06 Stanza 1 in BWV 174/5
112 Kommt her zu mir, spricht Gottes Sohn 2496b 0074/8 Pentecost 1725 05-20 Stanza 2 ("Kein Menschenkind hier auf der Erd") from "Gott Vater, sende deinen Geist" in BWV 74/8
113 O Gott, du frommer Gott 5206b–c 1125 ≤c. 1735
114 O Gott, du frommer Gott 5206b–c 0129/5 Trinity 1727 06-08 Stanza 5 ("Dem wir das Heilig itzt") from "Gelobet sei der Herr, mein Gott" in BWV 129/5
115 Jesu, meine Freude 8032 0358 St. John's Day? 1728? 06-24? Stanza 2 ("Unter deinem Schirmen") is closing chorale of Picander cycle No. 46
New Year I? 1729? 01-02? Stanza 2 ("Unter deinem Schirmen") is closing chorale of Picander cycle No. 10
Easter II? 1729? 05-01? Stanza 1 is closing chorale of Picander cycle No. 32
Trinity IV? 1729? 07-10? Stanza 6 ("Weicht, ihr Trauergeister") is closing chorale of Picander cycle No. 45
116 Freu dich sehr, o meine Seele 6543 0039/7 Trinity I 1726 06-23 Stanza 6 ("Selig sind, die aus Erbarmen") from "Kommt, lasst euch den Herren lehren" in BWV 39/7
117 Warum sollt ich mich denn grämen 6462 0422 Trinity I? 1729? 06-19? Hymn tune as in BWV 248/33 (Bach's adaptation of Zahn 6461); Stanza 10 ("Was sind dieses Lebens Güter?") is closing chorale of Picander cycle No. 42
Trinity XIX? 1728? 10-03? Hymn tune as in BWV 248/33 (Bach's adaptation of Zahn 6461); Stanza 6 ("Satan, Welt und ihre Rotten") is closing chorale of Picander cycle No. 63 (= BWV 1137?)
1729? 10-23?
118 Meine Seel erhebt den Herren — 0010/7 Visitation 1724 07-02 Melody: Magnificat peregrini toni; Stanzas 10 and 11 (doxology, "Lob und Preis sei Gott dem Vater") in BWV 10/7
119 Du Lebensfürst, Herr Jesu Christ 5741b 0248/12 Christmas 2 1734 12-26 = Dietel No. 134; Stanza 9 ("Brich an, o schönes Morgenlicht") from "Ermuntre dich, mein schwacher Geist" in BWV 248II/3
120 Vom Himmel hoch, da komm ich her 0346 0248/17 Christmas 2 1734 12-26 Stanza 8 ("Schaut hin! dort liegt im finstern Stall") from "Schaut, schaut, was ist für Wunder dar" in BWV 248II/8
121 Es ist gewisslich an der Zeit 4429a 0248/59 Epiphany 1735 01-06 Stanza 1 from "Ich steh an deiner Krippen hier" in BWV 248VI/6
122 Ach Herr, mich armen Sünder 5385a 0248/64 Epiphany 1735 01-06 Stanza 4 ("Nun seid ihr wohl gerochen") from "Ihr Christen auserkoren" in BWV 248VI/11
123 Gelobet seist du, Jesu Christ 7247 0248/28 Christmas 3 1734 12-27 Stanza 7 ("Dies hat er alles uns getan") in BWV 248III/5
124 Wir Christenleut 2072 0248/35 Christmas 3 1734 12-27 Stanza 4 ("Seid froh, dieweil") from "Laßt Furcht und Pein" in BWV 248III/12
125 Warum sollt ich mich denn grämen 6462 0248/33 Christmas 3 1734 12-27 Hymn tune as in BWV 422 (Bach's adaptation of Zahn 6461); Stanza 15 ("Ich will dich mit Fleiß bewahren") from "Fröhlich soll mein Herze springen" in BWV 248III/10
126 In dich hab ich gehoffet, Herr 2461c 0248/46 New Year I 1735 01-02 Stanza 5 ("Dein Glanz all' Finsternis verzehrt") from "Nun, liebe Seel, nun ist es Zeit" in BWV 248V/4
127 Jesu, meiner Seelen Wonne 6551a 0154/3 Epiphany I 1724 01-09 Stanza 2 ("Jesu, mein Hort und Erretter") in BWV 154/3
128
(129)		 Wär Gott nicht mit uns diese Zeit 4434 0014/5 Epiphany IV 1735 01-30 Stanza 3 ("Gott Lob und Dank, der nicht zugab") in BWV 14/5
129
(130)		 Meinen Jesum lass ich nicht 3449 0154/8 Epiphany I 1724 01-09 Stanza 6 ("Meinen Jesum laß ich nicht, Geh ihm") in BWV 154/8
130
(131)		 Gelobet seist du, Jesu Christ 1947 0091/6 Christmas 1724 12-25 Stanza 7 ("Das hat er alles uns getan") in BWV 91/6
131
(132)		 Jesu, nun sei gepreiset 8477a 0041/6 New Year 1725 01-01 Stanza 3 ("Dein ist allein die Ehre") in BWV 41/6
132 Wenn mein Stündlein vorhanden ist 4482a 0429 ≤c. 1735
133 Christ lag in Todes Banden 7012a 0278 Easter? 1729? 04-17? Stanza 6 ("So feiern wir das hohe Fest") is closing chorale of Picander cycle No. 28
134 Ermuntre dich, mein schwacher Geist 5741b 0248/12 Christmas 2 1734 12-26 = Dietel No. 119; Stanza 9 ("Brich an, o schönes Morgenlicht") in BWV 248II/3
135 Von Gott will ich nicht lassen 5264b 0417 ≤c. 1735
136
(137)		 Herzliebster Jesu, was hast du verbrochen 0983 0245.1/3 Passion 1724 04-07 Stanza 7 ("O große Lieb") in BWV 245.1/3
137
(138)		 Vater unser im Himmelreich 2561 0245.1/5 Passion 1724 04-07 Stanza 4 ("Dein Will gescheh") in BWV 245.1/5
0416
138
(139)		 O Welt, sieh hier dein Leben 2293b 0245/11 Passion 1724 04-07 Stanzas 3 ("Wer hat dich so geschlagen") and 4 in BWV 245/11
139
(140)		 Jesu, meiner Seelen Wonne 6551a 0244/40 Passion 1727 04-11 Stanza 6 ("Bin ich gleich von dir gewichen") from "Werde munter, mein Gemüte" in BWV 244/40
140
(141)		 Herzliebster Jesu, was hast du verbrochen 0983 0245/17 Passion 1724 04-07 Stanzas 8 ("Ach großer König") and 9 in BWV 245/17
141
(142)		 O Welt, sieh hier dein Leben 2293b 0394 Passion? ≤c. 1735 Mar.–
Apr.?
142
(143)		 Valet will ich dir geben 5404a 0245/26 Passion 1724 04-07 Stanza 3 ("In meines Herzens Grunde") in BWV 245/26
143
(144)		 Befiehl du deine Wege 5385a 0271 Passion? 1731? 03-23? Stanza 1 in BWV 247/33, or /28: stanza 6 ("Ich will hier bei dir stehen") from "O Haupt voll Blut und Wunden", or /35: stanza 2 ("Du edles Angesichte") from the same
144
(145)		 An Wasserflüssen Babylon 7663 0267 Passion? ≤c. 1735 Mar.–
Apr.?		 Tune a.k.a "Ein Lämmlein geht und trägt die Schuld" (Passion hymn)
145
(146)		 (Jesu, der du meine Seele) 6804 0354 ≤c. 1735
146
(147)		 Jesu, meiner Seelen Wonne Vol. VI
p. 566		 0248/42 New Year 1735 01-01 Stanza 15 ("Jesus richte mein Beginnen") from "Hilf, Herr Jesu, laß gelingen" in BWV 248IV/7
147
(148)		 Gott des Himmels und der Erden 3614b 0248/53 New Year I 1735 01-02 Stanza 9 ("Zwar ist solche Herzensstube") from "Ihr Gestirn, ihr hohlen Lüfte" in BWV 248V/11
148
(149)		 Liebster Gott, wenn werd ich sterben 6634 deest Trinity XVI? ≤c. 1735 Sep.–
Oct.?		 Setting related to BWV 8/6 and BWV 483
149
(150)		 Nun danket alle Gott 5142 0386 Visitation? 1729? 07-02? Stanza 1 is closing chorale of Picander cycle No. 48

Reception

When Gerlach died in Leipzig in 1761 he apparently had no heirs living in the town: a large part of his music collection, for instance the copies of the Porpora cantatas, came in the possession of the music publishers Bernhard Christoph and Johann Gottlob Immanuel Breitkopf.[26][45] The earliest trace of the Dietel manuscript dates from 1764, when the Breitkopf publishing firm offered (manuscript) copies of the chorale collection for sale.[1][80] The earliest prints of Bach's four-part chorale collections, two volumes published by Birnstiel in 1765 and 1769 respectively, drew from other manuscripts than the Dietel Collection.[81][82] Bach's son Carl Philipp Emanuel (C. P. E.), who had collaborated on Birnstiel's 1765 volume, fell out with the publisher and left further plans for a complete edition of his father's four-part chorales to Johann Kirnberger, who negotiated with the Breitkopf firm on the subject.[82][83] In 1777 Kirnberger wrote to Breitkopf:[57]

Sie haben mir auch gemeldet, daß Sie selbst noch 150 Stück von den Bachischen Erben an Sich gekauft haben, vielleicht sind sie hiebey mit, wo nicht so wäre es sehr gut, sie mit bey zu fügen, vorher aber mögte ich sie gerne erst sehen, ob sie 1) würklich von J. S. Bach und 2) ob sie correct sind ...

You also mentioned to me that you have acquired a further 150 pieces from Bach's heirs: perhaps they are included in [the chorale collection Kirnberger had received from C. P. E. Bach], and if not it were very good to add them [to the collection], but prior to that I'd like to see them first, whether they 1) are really by J. S. Bach and 2) are correct ...

—Johann Kirnberger, 1 July 1777[57] —translation

The "150 Stück" (150 pieces) mentioned by Kirnberger refer to the Dietel manuscript.[57] Kirnberger was also the librarian of the Amalienbibliothek, the library of his employer Princess Anna Amalia of Prussia.[84] The library contained these manuscripts:

  • D-B Am.B 46/II, Fascicle 3, containing 111 four-part chorales, all of which also occur in the Dietel collection.[85] The fascicle is part of the Am.B 46/II collection, which contains 369 chorales, and its content likely corresponds to the collection of chorales which Kirnberger had acquired from C. P. E. Bach.[86] The Am.B 46/II copy was likely produced in Berlin (where Kirnberger lived and worked) around the 1770s.[85][86]
  • D-B Am.B 48: a rather straightforward copy of the Dietel manuscript, produced in Leipzig by the Breitkopf firm, that is, the kind of copy they offered for sale in 1764, and the only extant of such copies.[87][88] It is not known when this copy entered the Amalienbibliothek, but it seems unlikely that Kirnberger would have been unaware of its presence in the library when he wrote his July 1777 letter to Breitkopf (meaning: the Am.B 48 copy likely only arrived in Berlin after that letter).[87]

When Kirnberger died in 1783, no new edition of Bach's four-part chorales had materialised.[89] Shortly thereafter, in 1784 and 1785, Breitkopf published the first two volumes of their new edition of these chorales, edited by C. P. E. Bach.[90] These volumes reflected, to a large extent, the two Birnstiel volumes, that is, none of the chorales contained in them were extracted from the Dietel manuscript: the chorales from that manuscript, or rather, from the Am.B 46/II, Fascicle 3, selection, were only included in the third (1786) and concluding fourth (1787) volumes of Breitkopf's edition.[81] Within two decades after the publication, Breitkopf disposed of the Dietel manuscript, Otto Carl Friedrich von Voß becoming its new owner.[1][80] A later owner of the manuscript was Ernst Rudorff, and from 1917 it resided in the Music Library Peters in Leipzig, where it got the shelf mark R 18.[1][80] Eventually the collection of the Peters library was adopted in the Leipzig City Library, from where the R 18 manuscript was transmitted, as a permanent loan, to the Bach Archive in 2014.[1]

The Dietel manuscript only started to attract stronger attention from scholarship in the second half of the 20th century.[27][91] In 1991 the New Bach Edition published the entire manuscript, edited by Frieder Rempp: the edition included several chorales from the manuscript which had not been given a BWV number in the 1950 first edition of the Bach-Werke-Verzeichnis.[77][92] Four chorales from the Dietel manuscript were given a BWV number in the 1122–1125 range in the 1998 edition of the Bach-Werke-Verzeichnis.[93]

References
  1. Ebata 2020.
  2. § Dietel (A1) in Quick key to the early chorale collections at www.bach-chorales.com
  3. Melamed & Marissen 1998, p. 125.
  4. Schulze 1983, pp. 84ff.
  5. "Dietel, Johann Ludwig". Bach Digital. Leipzig: Bach Archive; et al. 2019-10-28.
  6. Glöckner 1982, pp. 62, 64, 66.
  7. "D-B Mus.ms. Bach St 43". Bach Digital. Leipzig: Bach Archive; et al. 2020-01-16.
  8. Ebata 2019.
  9. Shabalina 2009, p. 91.
  10. "St. John passion (first version) BWV 245". Bach Digital. Leipzig: Bach Archive; et al. 2020-04-24.
  11. "St Matthew Passion (early version) BWV 244.1". Bach Digital. Leipzig: Bach Archive; et al. 2020-04-23.
  12. Melamed 1995, p. 102.
  13. Waldersee 1894.
  14. "D-B Mus.ms. Bach St 123". Bach Digital. Leipzig: Bach Archive; et al. 2020-01-13.
  15. Glöckner 1982, pp. 64, 66.
  16. "D-B Mus.ms. Bach St 33a". Bach Digital. Leipzig: Bach Archive; et al. 2020-01-16.
  17. "D-B Mus.ms. Bach St 318". Bach Digital. Leipzig: Bach Archive; et al. 2020-01-13.
  18. "D-B Mus.ms. Bach St 319". Bach Digital. Leipzig: Bach Archive; et al. 2020-07-26.
  19. Schulze 1983, p. 84.
  20. Bach 1730.
  21. Glöckner 1982, p. 64.
  22. Gille 2019, "9/2: Gehet zu seinen Toren ein mit Danken (D:G 1)", pp. 21–22.
  23. RISM No. 200022353
  24. Gille 2019.
  25. Glöckner 1982, pp. 57, 64.
  26. "Gerlach, Carl Gotthelf". Bach Digital. Leipzig: Bach Archive; et al. 2019-05-24.
  27. Glöckner 1982, p. 60.
  28. Richter 1907, p. 66.
  29. Wolff 2001, pp. 252, 341.
  30. Glöckner 1982, p. 62.
  31. "D-LEb Thomana 112, Fascicle 1 (Depositum im Bach-Archiv)". Bach Digital. Leipzig: Bach Archive; et al. 2020-01-13.
  32. "D-B Mus.ms. Bach St 106, Fascicle 1". Bach Digital. Leipzig: Bach Archive; et al. 2020-01-15.
  33. Glöckner 1982, pp. 57, 66–67.
  34. "D-B Am.B 102-104, Fascicle 2 (formerly: D-B Am.B 103)". Bach Digital. Leipzig: Bach Archive; et al. 2020-06-17.
  35. Gille 2019, "1400: Gottes und Marien Kind (D:G3)", pp. 296–297.
  36. RISM No. 200022355
  37. "D-B Mus.ms. Bach St 65". Bach Digital. Leipzig: Bach Archive; et al. 2020-01-15.
  38. "D-B Mus.ms. Bach St 91". Bach Digital. Leipzig: Bach Archive; et al. 2020-01-15.
  39. "D-B Mus.ms. Bach St 77". Bach Digital. Leipzig: Bach Archive; et al. 2020-01-15.
  40. Glöckner 1982, pp. 57, 60, 67–68.
  41. "B-Br Ms II 3893 Mus (Fétis 1879)". Bach Digital. Leipzig: Bach Archive; et al. 2019-06-11.
  42. Gille 2019, "1401: Welt und Teufel, tobt ihr noch (D:W2)", pp. 297–298.
  43. RISM No. 200022364
  44. RISM No. 225004110
  45. Glöckner 1982, p. 68.
  46. "D-B Mus.ms. Bach St 97". Bach Digital. Leipzig: Bach Archive; et al. 2020-01-15.
  47. "Christmas oratorio BWV 248". Bach Digital. Leipzig: Bach Archive; et al. 2019-11-25.
  48. "D-B Mus.ms. Bach St 112 IV, Fascicle 1". Bach Digital. Leipzig: Bach Archive; et al. 2020-01-15.
  49. "D-B Mus.ms. Bach St 112 VI, Fascicle 1". Bach Digital. Leipzig: Bach Archive; et al. 2020-01-15.
  50. "Wär Gott nicht mit uns diese Zeit BWV 14". Bach Digital. Leipzig: Bach Archive; et al. 2019-03-11.
  51. Glöckner 1982, pp. 59–60.
  52. Schulze 1983, p. .
  53. Glöckner 1982, p. .
  54. Schulze 1983, pp. 84–85.
  55. "Ermuntre dich, mein schwacher Geist BWV 248/12 ChS". Bach Digital. Leipzig: Bach Archive; et al. 2018-07-15.
  56. Schulze 1983, p. 90.
  57. Schulze 1983, p. 87.
  58. "Sei Lob und Ehr dem höchsten Gut BWV 117/4 (Variante) ChS". Bach Digital. Leipzig: Bach Archive; et al. 2019-01-10.
  59. "Sei Lob und Ehr dem höchsten Gut BWV 117/4 ChS". Bach Digital. Leipzig: Bach Archive; et al. 2019-05-24.
  60. "Liebster Gott, wenn werd ich sterben BWV 8/6 ChS". Bach Digital. Leipzig: Bach Archive; et al. 2019-05-22.
  61. "Liebster Gott, wenn werd ich sterben BWV deest (NBA Serie III:2)". Bach Digital. Leipzig: Bach Archive; et al. 2018-07-15.
  62. Schulze 1983, p. 85.
  63. Dürr & Kobayashi 1998, p. 468.
  64. Platen 1976, p. 51.
  65. Schulze 1983, p. 89.
  66. Platen 1976, pp. 50–52.
  67. "Dir, dir, Jehova, will ich singen BWV 299 [2]". Bach Digital. Leipzig: Bach Archive; et al. 2019-06-23.
  68. "Ich bin ja, Herr, in deiner Macht BWV 345". Bach Digital. Leipzig: Bach Archive; et al. 2019-03-11.
  69. BWV 1122 at www.bach-chorales.com
  70. "Gib dich zufrieden und sei stille BWV 315". Bach Digital. Leipzig: Bach Archive; et al. 2019-03-11.
  71. "Warum sollt ich mich denn grämen BWV 422". Bach Digital. Leipzig: Bach Archive; et al. 2019-03-11.
  72. "Warum sollt ich mich denn grämen BWV 248/33 ChS". Bach Digital. Leipzig: Bach Archive; et al. 2018-07-15.
  73. Four–part Realizations of Two–Part Schemelli Chorales at www.bach-chorales.com
  74. "Auf, auf, mein Herz, mit Freuden (sacred song) BWV 441". Bach Digital. Leipzig: Bach Archive; et al. 2019-03-11.
  75. Speculations Regarding the Original Liturgical Occasions of the Individual BWV 253–438 Chorales at www.bach-chorales.com
  76. Smend 1966, pp. 30–40.
  77. Rempp 1991.
  78. Schulze 1983, pp. 94–100.
  79. Die Melodien der deutschen evangelischen Kirchenlieder, aus den Quellen geschöpft und mitgeteilt von Johannes Zahn (6 volumes), Verlag Bertelsmann, Gütersloh (1889–93). [further edited by the Gesellschaft zur wissenschaftlichen Edition des deutschen Kirchenlieds. Hildesheim, New York: Georg Olms Verlagsbuchhandlung, 1998. 6 volumes. ISBN 3-487-09319-7]
  80. Schulze 1983, p. 86.
  81. Schulze 1983, pp. 88–89.
  82. Wachowski 1983, pp. 54–55.
  83. Schulze 1983, pp. 81–82, 87.
  84. Schulze 1983, pp. 87–88.
  85. "D-B Am.B 46/II, Fascicle 3". Bach Digital. Leipzig: Bach Archive; et al. 2019-11-25.
  86. Schulze 1983, p. 88.
  87. Schulze 1983, pp. 86–88.
  88. "D-B Am.B 48". Bach Digital. Leipzig: Bach Archive; et al. 2020-06-17.
  89. Schulze 1983, p. 81.
  90. Wachowski 1983, pp. 56–58.
  91. Smend 1966, pp. 17ff.
  92. Neue Bach-Ausgabe: Band 2/1. Choräle und geistliche Lieder, Teil 1: Repertoires der zeit vor 1750 (1991): Scores at the International Music Score Library Project
  93. Dürr & Kobayashi 1998, p. 303.

Sources
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