William Hoffman wrote (September 10, 2016):
Homage Cantata BWV Anh. 9 and B-Minor Mass Sources
Several major events in 1727 caused Bach to shift his compositional emphasis as Leipzig cantor from sacred service cantatas, ending the consecutive, continuous third cycle, to special music involving both his Christological cycle of major works as well as music composed for the Saxon Court as Leipzig Director Musices or Director Chori Musici. This would reach fruition with his secular drammi per musica in the 1730s as nominal Leipzig Kapellmeister and official Saxon Court Composer, and culminate in his “Great Catholic Mass” in B Minor, BWV 232, for the court in Dresden near the end of his life in 1750. Major findings in Bach scholarship in the past decade, centering on the Bach Jahrbuch annual essays and the new English-language Bach Network UK (http://www.bachnetwork.co.uk/), often with joint publications, have revived and directed interest to new source-critical materials, particularly church service libretto books, including new repertory.
The first event was the premier of his St. Matthew Passion, BWV 244, with text by Picander on Good Friday, April 11, 1727. It had taken two years to complete and caused Bach intentionally to compose his third annual cycle spread over this same period, since a second version of the St. John Passion, BWV 245, on Good Friday 1725. Instead of starting a fourth annual church cycle on the 1st Sunday after Trinity, June 8, 1727, Bach selectively revived his double-chorus Sanctus, BWV 232III (1724 version, Recording https://www.youtube.com/watch?v=0wNTNEZYoHg) on Easter Sunday, festive music that eventually would become part of his B Minor Mass. Instead of composing new music in Easter season 1727, Bach also presented a revival of three parodied cantatas for the coming Pentecost festival, BWV 34, 173, and 184, as well as a new work, BWV 129, for the Trinityfest. Bach’s interest in Latin liturgical music coincided with a rare opportunity in new directions that would involve special secular celebratory music to be recycled as parody or contrafaction into special sacred music, as well as civic occasions involving sacred music of praise and thanksgiving. All this through the technique of borrowing and transcription eventually would produce Bach’s centerpiece of “a well-ordered church music to the glory of God,” the “Great Catholic” Mass in B Minor, BWV 232.
Homage Cantata BWV Anh. 9
Meanwhile in the spring of 1727, Augustus II, “the Strong,” King of Poland and Prince of Saxony, visited Leipzig at the beginning of the Easter Fair, on Jubilate Sunday, May 4, 1727, to celebrate his 57th birthday. As Town Music Director, Sebastian turned to create special music for the Dresden Court in lieu of church music. Students at another major Leipzig institution, the University, commissioned Bach to compose evening serenade music. “Bach had the opportunity to impress King Augustus II who visited Leipzig and listened to a performance from the window of [merchant Dietrich] Apel's house [official Saxony residence] on the Marktplatz of a cantata composed and directed by Bach in celebration of the King's birthday on May 12th 1727.” 1 “The king was presented with a copy of the libretto 'Entfernet euch, ihr heitern Sterne' [Disperse yourselves, ye stars serenely] by [the librettist] Christian Friederich Haupt, the music is unfortunately lost, or associated with another text.” The work is Cantata BWV Anh. 9, a dramma per musica, and only the librettos survives. It was Bach’s first recognized work for the Dresden Court). The original music is lost; the characters are Philuris, Apollo, Mars, Harmonia.
On the same date, Monday, May 12, the Leipzig cantor may have provided special music for a service of allegiance and thanksgiving for the monarch, probably at the leading Nikolaikirchke. Double chorus motet BWV 225, “Singet dem Herr nein neues Lied” (Sing unto the Lord a new song, Psalms 149-150) may have been reperformed, following its introduction on New Year’s Day at a festival service both sacred and secular.
Bach’s use of sacred music, the Sanctus, repeated on Easter Sunday, and the eight-voice Motet NWV 225.
Homage Cantata BWV 193a
Three months later, Cantata BWV 193a, "Ihr Häuser des Himmels, ihr scheinenden Lichter" (Ye houses of heaven, ye radiant torches,) was presented as a serenade for the name day of August II, on August 3, 1727, text probably by Christian Friedrich Henrici (Picander). It was Bach’s second music for the Saxon Court in Dresden and showed a complex compositional history through the process of parody or new-text underlay involving the poet Picander. While Cantata BWV Anh. 9 composed three months earlier probably involved all new music, the core music of Cantata 193a involved parody of the opening chorus, the duet, and the soprano and alto arias. The Fame-Fortune love duet (no. 5) could have yielded two additional uses, as the soprano-tenor aria, Domine Deus, Rex coelestis (Lord, God, Heavenly King), in the Gloria of the Mass in B Minor in 1733, and a year later in a tribute to the departing Thomas School Rector, “Wo sind meine Wunderwerke?,” BWV Anh. 210. Meanwhile, the closing homage operatic scena (no. 11, music lost) has a quasi-religious text, (Piety with Chorus interspersed): Piety, “Himmel, erhöre das bethende Land” (Heaven, give ear to the prayers of this land); Chorus “Amen, Amen, Amen.” This was unsuitable for either a Town Council service or use as a contrafaction in a Missa setting.
"While the text only of the work [BWV 193a] survives, the words of the duet match both the structure and the character of the `Domine Deus' very closely," says George B. Stauffer, Bach: The Mass in B Minor, 2 He cites Bach scholar Klaus Häfner.3 A comparison of the texts of BWV 193a/3 (Picander) and 232/8 shows: BWV 193a/3. Aria (Providence), “Call, then, this thine August god! / Boast, then, Rome, in games and feasting, / Saxon August is the greatest, / For this his own laurels bloom; / Saxon August is unequaled, / For kindness and love have immortalized him”; Mass BWV 232/8, 4/4 duet in G Major, Domine Deus, Rex coelestis: “O Lord God, heavenly King, / God the Father Almighty, / O Lord, the only-begotten Son, / Jesus Christ, the Most High, / O Lord God, / Lamb of God, Son of the Father.
In the 1730s, Bach composed congratulatory homage’s works for the Saxon court: BWV Anh. 11 (1732), BWV 215 (1734), and BWV Anh. 13 in 1738. Cantatas BWV Anh. 9 and BWV 215 as serenades were performed after torchlight parades at the Leipzig market place. The Osanna in the B-0Minor Mass is a contrafaction of the opening choruses of Cantata BWV 215, “Preise deine Glücke” (Praise thy fortune), and BWV Anh. 11, “Es lebe der König, der Vater im Lande” (Long life to the King now, the nation's true father), (Osanna Recording, https://www.youtube.com/watch?v=MQoI6IJXqsE). In all, Bach composed and presented at least 13 such cantatas, often called drammi per musica, and listed as “The Extraordinaire Concerten in Honor of the Electoral-Royal Family” in Christoph Wolff’s Johann Sebastian Bach: The Learned Musician.4 The others are BWV Anh. 12 (1733 name day), 213 (prince’s birthday 1733), 214 (electress’ birthday 1733), 205a (king’s coronation 1734), 207a (elector’s name day 1735), 206 (elector’s birthday 1736), and Anh. 13, (couple’s homage 1738). Mucof the new music was recycled into the sacred oratorios for Christmas and Ascension and possibly a lost Pentecost oratorio, while others arias and choruses were simply parodied.
Leipzig Count von Flemming
The impetus for the King’s visit and Bach’s music probably was from Count Joachim Friedrich von Flemming, the court-appointed Leipzig governor and a leader of the Town Council faction that has chosen Bach in 1723. In 1727, the Leipzig spring fair began on May 4 and the festivities were held on Monday, May 12. Special note was made in the C. F. Haupt libretto of Cantata BWV Anh. 9/5 citing Flemming as the court’s “most trusted” who had been present at this “mighty feast one year ago” in 1726. That year the Elector’s birthday had fallen exactly on Jubilate Sunday, May 12, when Bach probably had presented festive church Cantata BWV 146 with its opening two movements a sinfonia and chorus, ostensibly borrowed from the Clavier Concerto No. 1 in D Minor, BWV 1052.
On Sunday, August 25, 1726, the same day (Trinity 12) as Cantata 102, Bach a presented the first of three special cantatas for Flemming’s birthday, parody, BWV 249b, “Die Feyer des Genius” (Festival of Genius, Drama per Musica): "Verjaget, zerstreuet, zerrüttet, ihr Sterne" (Dispel them, disperse them, destroy them, ye heavens). The Picander text survives and the music is a parody in the 1725 Easter Oratorio, BWV 249. The characters are Genius, Mercurius, Melopomene, Minerva. It is an evening serenade for the birthday of Leipzig resident, Saxon court adviser and leading Bach patron, Count von Flemming. The others are solo soprano serenade, BWV 210a, 1729-30, and repeats for him and unknown patrons (through text revisions) between 1735-1740, and BWV Anh. 10, August 25, 1731, also to a Picander text.
In 1724, Flemming had assumed his position and moved into the Pleissenburg castle governor’s residence not far from the Thomas Church. On July 31, 1724, Flemming had assumed his official duties with a dramma per musica to a Picander libretto, composer unknown.5 Picander also wrote the text to a solo Evening Music for Flemming on January 1, 1725. Although both originally were attributed to Johann Gottlieb Görner, organist at the progressive St. Paul University Church, Bach scholars have developed a still-unsubstantiated hypothesis that Bach was the composer.
B-Minor Mass Connections
Homage cantata BWV Anh. 11, “Es lebe der König, der Vater im Lande” (Long life to the King now, the nation's true father), was composed for the name day of Augustus II (August the Strong), August 3, 1732, dramma per musca serenade text by Picander. The opening eight-part chorus, repeated at the end, also opened the serenade Cantata BWV 215, “Preise deine Glücke, gesegnetes Sachsen” (Praise now thy blessings, O fortunate Saxon), for the visit of his son and heir, August III, on October 5, 1734, Leipzig University commission, celebrating the new King’s election day. In the late 1740s this double chorus was parodied as the Osanna in the B-Minor Mass (BWV 232).
While the contrafaction of the Osanna in excelsis from earlier sources in BWV Anh. 9/1 and 11/1 is still debated, the opening chorus of BWV Anh. 9 was the original version of the joyous “Et resurrexit” in the Credo of the B Minor Mass, BWV 232/18, Häfner suggests (“Über die Herkunft,” Ibid.: 55-74).
Homage Cantata BWV Anh. 9
The ambitious Cantata BWV Anh. 9 involves 14 movements of seven are recitatives/arioso usually unsuitable for parody, with opening and closing chorus and four arias and a duet. The movements and incipits are :6
1. Aria [Chorus] da capo (Tutti): A. “Entfernet euch, ihr heitern Sterne!” (Disperse yourselves, ye stars, serenely!); B. Des Landes Sonne geht uns auf, / “Die Gluth des Himmel-reinsten Flammen, / So von Augustens Augen stammen, / Verdunckelt euch und hemmet euren Lauff.” (The nation's sun doth rise for us, / The flames of heaven's purest ardor, / Which from Augustus' eyes are springing, / Now darken you and slow you in your course.).
2. Recitativo (Philuris): “Großmächtigster August, / Du Wunder dieser Zeiten” (Most mighty Lord August, Thou wonder of these ages); etc.
3. Aria (Philurus): “Die Quellen pflegt man ja zu crönen, / Drum darff ich nicht mit meinen Söhnen / Die Deine hohen Gaben zieren, / Den Ruhm der Danckbarkeit verliehren.” (Our sources are we wont to honor, / So may I not nor may my children, / Whom thy most noble gifts embellish, / Our name for gratitude relinquish.).
4. Arioso (Philuris): “Laß, Mächtigster August, laß, Großer König, zu, Daß ich bey stiller Nacht, bey Deiner süßen Ruh” (Grant, mighty Lord August, grant, splendid monarch, grant / That I by calm of night and by thy sweet repose); etc.
5. Recitative (Apollo): “Dieß große Fest ließ vor den Jahr / Zu Deines trauten Flemmings höchsten Freuden” (This mighty feast one year ago / To thy most trusted Flemming'sFN highest pleasure); etc.
6. Aria da capo (Apollo): A. “Augustens Gegenwart, Augustens Lust-Revier / Zieht man mit allem Recht dem schönsten Himmel für.” (Augustus’ presence here, Augustus' pleasure-strand / Do we with ev'ry right to fairest heav'n prefer.); B. “Sein Anblick kann uns theils ergötzen, / Theils aber in Verwundrung setzen.” (His visage can in part delight us, / In part, though, in amazement leave us.).
7. Recit. (Apollo): “Voraus da dieses Fest” (Because this festal day); etc.
8. Duetto da capo (Philyris, Apollo): A. (For a thousand times be welcome, / Fairest hours, with our kiss, / For Aurora’s purple light / Must to you cede all advantage); B. “Und, geschähe dieses nicht, / Vor euch endlich gar erblassen.” (And, if this doth not occur, / At the last grow pale before you!).
9. Recit (Phlyris, Mars): Phlyris, “Ich selbsten bin entzückt, und weiß nicht, wie mir ist” (I am myself o'erjoyed and know not why it is), etc.; Mars, “Was untersteht ihr euch, Verwegne Castalinnen” (What do ye mean by this, Castalian nymphs so daring), etc.; Philuris, “Laß mich nur nicht so unhold an” (Rebuke me not so churlishly), etc.; Mars, “O unverschämt Beginnen!” (O impudent beginning!), etc.
10. Aria da capo (Mars): A. “Helde, die wie Caesar fechten, / Muß man Lorbeer-Cräntze flechten” (Heroes who like Caesar battle / Must from us have crowns of laurel); B. “Und Augustens Wunder-Hand, / Welcher selbst die Löwen weichen, / Fordert solche Sieges-Zeichen / Auch von Seinem Sachsen-Land.” (And Augustus' wondrous hand, / To which even lions give way, / Summon forth such signs of triumph / Also from his Saxon land.).
11. Recit. (Mars, Harmony): Mars, “Entweichet, weil noch Seine Langmuth währt” (Leave off now while yet doth his patience last), etc.; Harmony, “ Nicht unsers Königs Helden-Proben / Nach Würden und Verdienst zu loben, / Erschallet unsrer Saiten Klang.” (Not for our King's great tests of valor, / His merit and deserts to honor, / Make echo now our strings their sound.); etc.
12. Aria (Harmony): “Soll des Landes Seegen wachsen, / Muß sein König bey ihm seyn. / Ach so treffe doch bey Sachsen / Unser sehnlich Flehen ein!” (If the land's good luck shall increase, / Must its king within it be. Ah, then were achieved in Sax'ny / Our most fervent hope and plea!).
13. Recit. (Harmony): “Drum lasse noch zuletzt mit meinen süßen Chören” (So then at last come forth with this my charming chorus), etc.
14. Aria [Chorus] (Tutti): “So lebe den das Königliche Hauß! / Mein Mächtigster August, das Kleinod unsrer Welt, / Und als ein Wunder-Werck von Gott selbst dargestellt: / So wird Sarmatien dem Himmel sich vergleichen, / Und Sachsens Rauten-Zweig die Ewigkeit erreichen.” (Long life then to the royal house and line! / My mightiest August, the jewel of our world, / Who as a miracle by God himself is shown: / And then Sarmatia will to heav'n itself be likened, / And Sax'ny's branch of rue eternity be granted.
Notes on the Text
Cantata BWV Anh. 9 apparently involved all new music Bach composed during the first three Sundays of the Easter Season. Bach scholKlaus Häfner has done source-critical study of Bach secular homage music that may survive as contrafaction in the Mass in B Minor.7 Using the Christian Friedrich Haupt text, he has done a construction of Cantata BWV Anh. 9 from what he thinks may have been the original version of the chorus “Et Resurrexit,” the “Christe eleison” love duet, and the alto aria, “Qui sedes.” The three movements are:
1. BWV Anh. 9/1. [Chorus] da capo: Disperse yourselves, ye stars, serenely! / The nation's sun doth rise for us, / The flames of heaven's purest ardor, / Which from Augustus' eyes are springing, / Now darken you and slow you in your course.” Missa, BWV 232/17 Latin text: “ Et resurrexit tertia die / secundum scripturas, / et ascendit in coelum, / sedet ad dextram Dei Patris, / et iterum venturus est / cum gloria judicare vivos et mortuos, / cuius regni non erit finis.” (Recording, https://www.youtube.com/watch?v=ZDNKBo9TKWA.
The Credo chorus of the B-Minor Mass, BWV 232/17, “Et resurrexit,” may be traced to the opening chorus of Cantata BWV Anh. 9, “Entfernet euch, ihr heitern Sterne!” (Disperse yourselves, ye stars, serenely!). “The unambiguous da capo form of the movement,” says Stauffer (Ibid.: 128), “points more strongly to vocal music and a cantata model,” citing Klaus Häfner, “Über die Herkunft” (Ibid.: 65-74). “Häfner ‘s main arguments are convincing,” says Stauffer. In the first phrase, the triplet figure of “Et resurrexit” “reflects the imagery of the word ‘Stern’ (star).” The “rising melodic figures of the music reflect the rise of August described metaphorically in the cantata”: “Entfernet euch, ihr heitern Sterne! / Des Landes Sonne geht uns auf,” (Disperse yourselves, ye stars, serenely! / The nation's sun doth rise for us). The English translation of “Et resurrexit” is, “And the third day he rose again according to the Scriptures.”
2. BWV Anh. 9/8, Duetto da capo (Philyris, Apollo): “ For a thousand times be welcome, / Fairest hours, with our kiss, / For Aurora’s purple light / Must to you cede all advantage / And, if this doth not occur, / At the last grow pale before you!” The B-Minor Mass soprano-alto duet with winds and strings in 4/4, Christe Elison (Christ have mercy upon us), is a Neopolitan opera style love duet with ritornelli. Various scholars have suggested its origins in a lost aria. One possibility is the Apollo-Philuris duet, “Seyd zu tausend mahl willkommen, /Schönste Stunden! Seyd geküßt” (For a thousand times be welcome, / Fairest hours, with our kiss), says Häfner in Aspekte des Parodieverfahrens (Ibid.: 245f). The secular “text begins as a dialogue, with the voices entering separately” and the da-capo form “would have required considerable reworking to produce the ‘Christe’,” observes Stauffer (Ibid.: 61). (Recording, https://www.youtube.com/watch?v=oWSmtLoGs0Q.
3. BWV Ang. 9/12, Aria (Harmony): “If the land's good luck shall increase, / Must its king within it be. / Ah, then were achieved in Sax'ny / Our most fervent hope and plea!” The alto aria with oboe d’amore and strings, “Qui sedes,” in the Gloria of B-Minor Mass may have its origins in the Harmony aria (no. 12) of Cantata BWV Anh. 9, “Soll des Landes Seegen wachsen” (If the land's good luck shall increase), says Häfner in Aspekte des Parodieverfahrens (Ibid.: 282). In contemporary ritornello 6/8 gigue style, the “Qui sedes” Latin and English text is: Qui sedes ad dextram Patris, miserere nobis (Thou that sittest at the right hand of the Father, have mercy upon us). While the general character and form of this aria resembles the proposed secular model, and the last line, “Our most fervent hope and plea!,” is similar in mood or affect, the cantata poetry does not line up with the “Qui sedes” music as well as it might, and it offers no reason for the echo effects” in the oboe d’amore, says Stauffer (Ibid.: 88f). Recording, https://www.youtube.com/watch?v=p6Q0A6YYILA).
B-Minor Mass Love Duets
The Lutheran theology of love is portrayed in Bach’s vocal music, particularly the model symbolic duets of the Bride and Bridegroom, the Soul or Believer and Jesus Christ. These are found in his cantatas as well as in his secular congratulatory homage cantatas, and as parody or contrafaction in his Christmas Oratorio and the B-Minor Mass. A pioneering musical-theological exploration of these love duets, as well as parody sources, is found in Marcus Rathey’s new Bach’s Major Vocal Works: Music, Drama, Liturgy.8
As the center of Italian opera with its focus on love in Germany in Bach’s time, the Catholic Saxon Court in Dresden observed the Mass Ordinary as the central expression of Christianity, as did the Lutheran Church. Neopolitan love songs were selectively found in both opera and Mass settings. As the bridal imagery of the biblical Song of Songs, the “unco mystico was a major influence in the texts Bach set, from the early Magnificat [1723, “Et misericordia” soprano-bass duet], and to the oratorios of the 1730s, says Rathey (Ibid.: 172f). The Mass in B Minor “features no fewer than three love duets,” he points out (Ibid.: 4). “Bach never composed an opera but he did now how to set an effective love scene to music?”
Two of the three love duets are found in the first two parts of the Mass, the Kyrie and the Gloria, which Bach composed for the Dresden court in 1733, the other is found in the Credo, the confession of faith. All refer to Jesus Christ and come in the Mass Ordinary after reference to God the Father. The Christe eleison (Christ have mercy upon us) is “understood within the emotional Jesus piety” in various major Bach works that fuse love with mercy, Rathey observes (Ibid.: 173). Using Christological text, this soprano-alto duet is not, however, a dramatic personification Jesus and the Soul but represents “the idea of love in general.” This intimate duet is the central contrast in the opening Kyrie to the communal pleas for mercy, “in the same spirit imploring God’s compassion de profundis” (Psalm 130, Out of the depths), says Stauffer (Ibid.: 53).
The soprano-tenor duet, Domine Deus, is a typical love duet, “maybe from the now-lost cantata, "Ihr Häuser des Himmels,” says Rathey (Ibid.: 183ff), citing Häfner, “Über die Herkunft” (Ibid.). Scored for solo flute and strings in concerto-like dialogue, it is similar to Qui sedes with alto and oboe in 6/8 gavotte-style, also probably a contrafaction, and separated by the chorus Qui tollis peccata mundi (that takes away the sins of the world).
The instrumentation of Domine Deus “is theologically intriguing,” says Rathey, expecting the text beginning to be set as a chorus with trumpets and timpani, similar to the preceding Gratias agimus tibi (We give thanks to thee). The text closes with the reference to the sacrificial litany, Agnus Dei (Lamb of God), and “Bach’s compositional decision is probably influenced by Luther’s theologia crucis (Theology of the Cross), citing Luther’s 1518 Heidelberg Disputation. The “use of the love duet was motivated by recent Passion theology “as an expression of divine affection,” says Rathey (Ibid.: 185), the structural centerpiece of Bach’s Gloria.” (Recording, https://www.youtube.com/watch?v=12gZOHhRxuo).
In the Mass central Credo, Christian affirmation of faith, is the soprano-alto duet with two oboes d’amore and strings, [Credo] Et in unum Dominum Jesum Christum (And [I believe] in one Lord Jesus Christ). The “topic of the text is devotion (and that meant, in contemporary theology, love) to Christ, and it is expressed in a style that is close to a love duet,” says Rathey (Ibid.: 192). It is an extended Neopolitan aria in extended, modified, repetitive da-capo style. It’s origins are probably complex and obscured. As Stauffer comments: “Sometimes glimpses of Bach’s creative processx can be as unsettling as they are insightful. The genesis and scholarly opposing perspectives of this movement are discussed in detail in “Et incarnatus”: An Af? Against the “Revisionist” View of Bach’s B-Minor Mass,” by Eduard van Hengel and Kees van Houten (Journal of Musicological Research 23: 81-112, 2004). (Recording, https://www.youtube.com/watch?v=9jhJPFRwxfs).
1 David Charlton, Johann“Music of the Augustan Age: Outside Composers” (1996-2000): http://www.classical.net/music/comp.lst/articles/dresden/outside.php. The official source of civic events in Leipzig was chronicler Christoph Ernst Sicul, Annales Lipsienses.
2 George B. Stauffer, Bach: The Mass in B Minor, (New Haven CN: Yale Univ. Press 2003: 81).
3 Klaus Häfner, “Über die Herkunft von zwei Sätzen der h-Moll-Messe,” Bach-Jahrbuch (Leipzig) Evang. Verlag-Anst., Vol. 63 (1977): S. 56-74).
4 Christoph Wolff, Johann Sebastian Bach: The Learned Musician (New York: W. W. Norton & Company, Updated Edition 2013: 362). See also Bach Cantata Website (BCW Article, “Bach’s Dramatic Music: Serenades, Drammi per Musica, Oratorios,” William Hoffman, Aug 2008 (http://bach-cantatas.com/Articles/HoffmanBachDramaII.htm), and BCW Article, “The Historical Figures of the Birthday Cantatas of Johann Sebastian Bach,” Marva J. Watson, May 2010 (http://bach-cantatas.com/Articles/Historical-Figures-Watson.pdf), as well as Thomas Bratz’s summary translations of “Bach’s Collegium musicum in Leipzig and Its History” (http://bach-cantatas.com/Articles/Collegium-Musicum[Braatz].htm) and “Opera and the Dramma per Musica” (http://bach-cantatas.com/Articles/Opera-Drama[Braatz].htm).
5 Source, Szymon Paczkowski, “Bach and the Story of an ‘Aria Tempo di Polonaise’ for Joachim Friedrich Flemming, BACH, Riemenschneider Bach Institute, Vol. XXXVIII/2 (2007), 64.
6 Cantata BWV Anh. 9 Details & Discography, http://www.bach-cantatas.com/BWVAnh9.htm, https://en.wikipedia.org/wiki/Entfernet_euch,_ihr_heitern_Sterne,_BWV_Anh._9. Cantata BWV Anh. 9 German text, Christian Friedrich Haupt, Das frohlockende Leipzig (Leipzig, 1727), BCW http://www.bach-cantatas.com/Texts/BWVAnh9-Ger5.htm; English text Z. Philipp Ambrose, http://www.uvm.edu/%7Eclassics/faculty/bach/, Texts for Lost Works, Lost and Fragmentary Works (according to the listing of Neumann T). References: BG 34 Forward (secular cantatas, Paul Graft Waldersee, 1887); NBA I/36 (Dresden nobility, Werner Neumann 1962), Bach Compendium BC G 14 (For Members of Princely Courts, Saxony-Poland).
7 Reconstruction recording, BCW http://www.bach-cantatas.com/Performers/Lutz.htm#C1; details, Klaus Häfner, Aspekte des Parodieverfahrens bei Johann Sebastian Bach: Beiträge zur Wiederentdeckung verschollener Vokalwerke (Laaber: Laaber-Verlag, 1987 [Hochschulschrift, Neue Heidelberger Studien zur Musikwissenschaft; 12). original edition 1977
8 Marcus Rathey, Bach’s Major Vocal Works: Music, Drama, Liturgy (New Haven: Yale University Press, 2016: 171ff).
Post Script: Missa Kyrie-Gloria, BWV 232a, aria possible origins, are the topic of the BCML Weekly Discussion, October 23, 2016.
To Come: Sacred music of praise and thanksgiving.