Bach's Vocal Music Composition in Cöthen

An accounting of Bach's vocal music composition in Cöthen (1717-1723)

William L. Hoffman wrote (March 29, 2023):
Bach studies have existed within a research pattern of Geschichte (scientific history) which categorizes each of his communal appointments chronologically by type of music genre composed, i.e.: organist at Mühlhausen and Arnstadt (1703-1708): early free organ, chorale prelude, keyboard compositions; Weimar court organist and chamber musician (1707-1714): perfecting the art of composition; Weimar concertmaster (1714-1717): first "modern" cantatas, organ works; Cöthen court capellmeister (1717-1723): instrumental music, published keyboard collections; Leipzig cantor and music director (1723-1750): church-year cantata cycles, Passion music, keyboard publications, drammi per musica, instrumental works, counterpoint collections. While these historical silos seem inflexible, Bach showed compositionally progressive development in various significant genres: vocal music from proto cantatas to extended oratorios and Passion pasticcios, from early organ and keyboard music to publications and collections, dramatic music (see BCW), and instrumental music from Italian concerto arrangements to published counterpoint studies.

Abendmusik, Five Menantes-Texted Serenades

Throughout his composing career, Bach worked in shorter forms, often unrecognized, such as chronological and topical cantata textual mini-cycles ( BVW) and orchestral sinfonias (BCW). During his mature years as a composer in Leipzig, Bach also experimented with a wealth of parody adaptations and arrangements from earlier music, especially instrumental and vocal music that he brought from Cöthen (BCW; BCW: "Cöthen Instrumental Sources in Leipzig Cantatas," "Cöthen Resources, Parodies, Transcriptions"). At the end of his first year in Cöthen in 1718, Bach began to expand his vocal music repertory to include challenging works with visiting guest musicians. He was required to present two-voice celebratory cantatas (Abendmusik, BCW) annually for the December 10 birthday of Prince Leopold and the January 1 New Year's observance for his principality. Bach composed one secular work each date, says Friedrich Smend in Bach in Köthen,¹ with a serenade in the palace hall of mirrors with evening table music and a sacred congratulatory cantata date in the Calvinist town Jacobskirche morning divine service, with texts initially provided by Cöthen court poet Hunold-Menates (1685-1721, BCW, Wikipedia). Five serenades are documented as Hunold-Menantes texts to Bach Köthen Cantatas BWV 66.1 (bcw) and BWV 134.1 (BCW) (called “Serenatas”), and (no music surviving) to BWV 1147=Anh. 5, BWV 1151=Anh. 6, BWV 1153=Anh. 7: the first a sacred work; the last a “Pastoral dialogue,” and BWV Anh. 6 (5 movements, 1/1/20).

Cöthen Repertory: 20 Congratulatory Serenades, Sacred Cantatas

Thus, during his Cöthen calling to present vocal music for five years from late 1718 to early 2023, Bach could have provided as many as 20 required occasional congratulatory works (see BCW), possibly including revised sacred cantatas originally composed in Weimar. Cöthen Court sources showing performance payments as well as compositional text librettos and extant cantata manuscripts that determine a history of performances. At Cöthen, Bach was able to retain the scores of Cantatas 134.1 (Bach Digital) and 173.1 (Bach Digital) and salvage reusable madrigalian instrumental parts from 134.1 (Bach Digital), Cantata 66.1 Bach Digital), Cantata 184.1 (Bach Digital), and Cantata 194 (Bach Digital). The texts only are extant for Cantatas 1147=Anh. 5 (UVM), 1151=Anh. 6, "Dich loben die lieblichen Strahlen der Sonne" (Thy honor is told by the sun’s lovely radiance, trans. Ambrose (UVM), BCW and 1153=Anh. 7, "Heut ist gewiß ein guter Tag" (Today indeed is one fine day, by Ambrose, UVM), BCW. Various instrumentalists and vocalist were imported to supplement the court capelle for these regal events, as Smend chronicles in Cöthen household accounts (Ibid.: 190).

First Cöthen Serenade Performances 1718/1719

Initially, cantata serenades are extant for 10 December 1718 and 1 January 1719 concerts.² For the dialogue profane serenades with allegorical or symbolic characters, Bach expanded on the traditional core ABA form of recitative-aria-recitative with more alternating movements and a closing SATB chorus, plus obbligato instruments in the madrigalian arias/duets and choruses, often cast in typical dance styles and da-capo repeat form. Birthday Serenade Cantata BWV 66.1=66.a, Das Frolockende Anhalt: "Der Himmel dacht auf Anhalts Ruhm und Glück" (Thrilling Anhalt: Since heaven cared for Anhalt's fame and bliss, translation by Z. Philip Ambrose, BCW). The following serenades were presented annually on Prince Leopold's birthday, December 10: 1718, BWV 66.1; 1719, "So bringet, Durchlauchtigster, Glorwüdger Leopold," Menantes' ode of 80 stanza alexandrines (no musical setting); 1720, no Hunold-Menantes libretto (Smend: Ibid.: 90), possible libretiist, Master of Pages Jean Francois Monjou; 1721, BWV 1153=Anh. 7; 1722, possible repeat of serenade BWV 1154=Anh. 194. The following serenades were presented annually on New Year's Day: 1719, Cantata 134.1; 1720, BWV 1151=Anh. 6; 1721, BWV 184.1; 1722, BWV 173a; 1723, BWV 1152=Anh. 8 (possibly identical with BWV 184.1 (Ibid.: BWV3: 287).

Possible Sacred Cantata Performances in Jacobikirche

Only one sacred cantata is extant for 10 December 1718 in the Jacobikirche, Cantata BWV 1147=Anh. 5, "Lobet den Herrn, alle seine Heerscharen" (Praise ye the Lord, all ye of his great armies, Ps. 103:21, Ambrose trans., BCW). It has an opening SATB chorus followed by three each alternating recitatives and arias. In addition, Leipzig 1724 New Year's Cantata 190, "Singet dem Herrn ein neues Lied!" (Sing ye the Lord a new refrain!, Ps. 149.1; trans. Ambrose BCW), Movements 3-7 may involve the concluding movements of a Cöthen work, says Smend (Ibid.: 67), while Stephen Daw, who edited and revised Smend's original with annotations, says "it is possible that some movements might derive from Köthen stylistically" (Smend (Ibid.: 205, fn E24) and was presented in the Jacobikirche as a sacred work on 1 Ja1723, "on the last occasion on which Bach was to experience the turn of the year at Köthen in his capacity as the resident Kappellmeister" (Ibid.: 91). In between, for the eight sacred services of the Prince's birthday on 10 December and New Year's on January 1, it is possible that Bach repeated and possibly revised Weimar Cantatas 21, 132, 172, and 199, as well as composing other works later found as Leipzig sacred Cantatas 32/1/3/5, 59, 69.1, 75/3,5, 97/1/4, 119/1/3/5/7, 145/1,3, 190.1/3-7, and 193.2/1/3/5, say Smend (Ibid.: 86f) and Wolff (Ibid.: xxiv). Exact dates for sacred cantatas for the December 10 Prince Leopold birthday as well as New Year's between 1719 and 1722 cannot be determined; however, it appears that the Weimar cantata reperformances (with revisions) date primarily to 1718-1721 while the new materials primarily date to 1721-1723.

Cöthen Secular Music: "Capital for All Times"

Bach's congratulatory and homage secular cantatas flourished in Cöthen as he found opportunities to expand on his vocal music to achieve "Capital for all times," observes Andreas Bomba.³ Among Bach's extensive vocal music listed in his 1754 Obituary is the miscellaneous grouping of sacred and profane works (No. 2), the latter involving "serenades, music for birthdays, name days, and for mourning, nuptial masses, and a few comical pieces to be sung." All Bach's vocal music, save for Cantata 71, was unpublished, found only in manuscript and the secular, occasional works were difficult to find and publish in the mid-19th century under the rubric "Utility music tied to specific occasions." Often, Bach had taken these original, occasional works and adapted them to parody such as the sacred Missae: Kyrie-Gloria, BWV 232.2-236; feast day oratorios for Christmas, Easter, Ascension, and Pentecost (BWV 248, 249, 112, and deest); often adapted from the 16 drammi per musica (BCW), the B-Minor "Great Catholic Mass," BWV 232; the 1729 Cöthen Funeral Music for Prince Leopold, BWV 1143=244a; and the St. Mark Passion, BWV 247 (core music BWV 198). Original music recycled often was either lost or donated to the commissioner, while what survived could test the bounds of sacred-secular or was subjected to editorial consequences while the substance itself was transformed into new, canonical purposes.

Cöthen New Music, Weimar Cantatas Redux, Leipzig Parodies

Various cited sources suggest that in addition to the 20 required congratulatory profane and sacred cantatas, Bach in Cöthen presented special concerts of new music; revived, adapted, and performed cantatas composed in Weimar; and later in Leipzig he parodied (new text overlay) madrigalian arias and choruses in sacred works from movements possibly composed in Cöthen, on the basis of stylistic, structural, and other compositional factors. Five Cöthen festive serenades subsequently were parodied for sacred festival services in the first Leipzig sacred cycle of 1723-24: Serenade 173.1, "Durchlauchtster Leopold" (Illustrious Leopold, BCW) became Cantata 173.2, "Erhöhtes Fleisch und Blut" (Exalted flesh and blood, trans. Ambrose), for Pentecost Monday; Serenade 184.1, lost (title unknown, BCW), became Cantata 184.2, "Erwünschtes Freudenlicht" (O welcome light of joy, trans. Ambrose), for Pentecost Tuesday; Serenade 66.1, "Der Himmel dacht auf Anhalts Ruhm und Glück" (Thrilling Anhalt: Since heaven cared for Anhalt's fame and bliss, trans. Ambrose; BCW), became Easter Monday Cantata 66.2, "Erfreut euch, ihr Herzen" (Rejoice, all ye spirits, trans. Ambrose; BCW); Serenade 134.1, "Die Zeit, die Tag und Jahre macht" (Now time, which day and year doth make, Ambrose trans.; BCW), became Easter Tuesday Cantata 134, "Ein Herz, das seinen Jesum lebend weiß" (A heart which doth its Jesus clearly know; BCW; and Serenade 194.1, lost (title unknown, BCW), became Trinityfest Cantata 194.3, "Höchsterwünschtes Freudenfest" (O most lovely feast of joy, trans. Ambrose; BCW).

Before he officially began presenting the Princely serenades in late 1718, Bach and his capelle had spent from 9 May to 29 June 1718 with the Prince at Carlsbad Spa in Bohemia, says Leaver (Ibid.: 497). It appears that Bach began composition of Pentecost Cantata 59 before Pentecost Sunday (5 June), score D-B P 161, Bohemian watermark (Bach Digital), says Peter Wollny.⁴ No music presented in Carlsbad is documented. The entourage also briefly visited Carlsbad two years later from 25 May to 7 June 1720 (Leaver Ibid.: 498). Besides trips to Leipzig for an organ examination in December 1717, Berlin in 1719, Hamburg in 1720, Halle in 1721 for failed attempt to meet Handel, and Leipzig for his probe with BWV 22-23 on 7 February 1723. Bach also presented a homage cantata for Friedrich II of Saxe-Gotha, August 2, 1721; a church performance at the Schleiz Court of Heinrich XI Count von Reuss, around August 10, 1721; and a birthday cantata, O vergnügte Stunden, BWV 1154=Anh. 194, for Prince Johann August of Anhalt-Zerbst, August 8, 1722.⁵ It is possible that Hunting Cantata 208, "Was mir behagt ist nur die muntre Jagd!" (My only joy is in the merry hunt!, trans. Ambrose), was revived for the birthday of Duke Christian of Saxe-Weissenfels on 23 February 1720 but authentication is indeterminate.

Court Guest Artists, Performances

The renowned bass Johann Gottfried Riemenschneider (1691-1742 spent several weeks in Cöthen in November and December 1718 in an extended stay beyond his annual visit, documented in the Bach-Werke-Verzeichnis 3rd edition (BWV3).⁶ On 16 December 1718, the court household Cammer Rechnung (chamber bill) paid for visiting guest musicians Riemenschneider, as well as for J. G. Linike (Merseburg violinist), J. G.Vogler (Leipzig violinist, BCW), and diskantist Preese (Bröse) from Halle, who performed Cantata 66.1 on 10 December (see BWV3: 286). On 8 April 1719, the same four musicians also were paid (Smend Ibid.: 190). It is possible that Riemenschneider performed the new Italianate Cantata 203 "Amore traditore" (O Love, thou art a traitor, by Z. Philip Ambrose; YouTube), unknown poet, bass solo and harpsichord, probably on a new two-manual instrument Bach had acquired in Berlin c. 1 March 1719. Another work also performed during Holy Week, 3-6 April 1719, could have been the Francesco Bartolomeo Conti (1681-1732) cantata Languet anima mea (My soul languishes), BNB I/C/2; score preface, Yoshitake Kobyashi, Eng. trans. Antony Preingsheim, Carus Verlag (Carus Media); poet unknown, copyist Christian Ernst Rolle, Anon K 4; BWV3:650. “The Castrato Ginacini” (paid March 21, 1719); Bach may have engaged Ginacini for performance in the Köthen castle chapel (BCW: paragraph beginning "Wolff speculates . . . ."). Languet anima mea was especially for princely early summer visits to Carlsbad in 1718 and 1720. One of Bach's Weimar cantatas — BWV 21, 132, 172, or 199 — may have been presented at the Lutheran Agnuskirche on 17 May 1719 at the dedication festival, says Walter Emery and Christoph Wolff (see Oxford Music Online: paragraphbeginning "At Cöthen the St Jakob organ . . . .").

Weimar Redux Cantatas 21, 172, 199, 132

Other sacred cantatas were available, including Cöthen versions of Weimar cantatas for the sacred services in the Calvinist Jacobskirche, especially on December 10 and January 1, or special services at the Lutheran Agnuskirche, usually 1718-21. The sacred cantatas are: Cantata 21.2, "Ich hatte viel Bekümmernis" (I harbored so much distressing woe, trans Z. Philip Ambrose, UVM), possibly 1 May 1721, Day of Repentance service, Jacobskirche, says Christoph Wolff,⁷ Hamburg probe c. 23 November 1721, SB adapt. duet movements, arias nos. 3, 5, 8, 10, BWV3: 46, NBA I/16) also for Jacobskirche c. 1721 and also 22 September 1722 Jacobikirche Kantor Johann Jeremias Göbel, d.1729 (source Maul-Wollny BJ 2003);⁸ Cantata 172.1, "Erschallet, ihr Lieder, erklinget, ihr Saiten!" (Resound now, ye lyrics, ring out now, ye lyres, trans. Ambrose, UVM), Köthen? 1718–1722 (Schreiber Anon. K 2) in C (Kammerton) and Leipzig 1721 (BWV3: 215f), probably was performed at St. Agnes Church on Pentecost Sunday 1718, says Martin Petzoldt;⁹ Cantata 199.2, "Mein Herze schwimmt im Blut" (My heart doth swim in blood, trans. Ambrose, BCW: "Köthen Performance(s)"), ?10 December 1721, Jacobskirche; and Weimar Advent Cantata 132, "Bereitet die Wege, bereitet die Bahn!" (Make ready the pathways, make ready the road!, trans. Ambrose; YouTube), Wiederaufführung (Köthen?) mit stärker differenzierter Bc-Besetzung in Satz 3 (Re-performance [Köthen?] with a more differentiated Bc instrumentation in the 3rd movement, bass aria, "Wer bist du?") part (Bach Digital), source BWV3: 177f.

Recent Research Findings: BWV 1150=Anh. 197, 184.1, 1154=Anh. 194

Recent Research has confirmed two additional New Year's serenades composed in Cöthen, Cantata BWV 1150=Anh. 197 and BWV 184.1 (184a), as well as performances outside in August 1721 at Saxe-Gotha, possibly Latin Birthday Ode, BWV 1155=Anh. 20, and the Reuß-Schleiz Court, and in August 1722 at the Anhalt-Zerbst Court, birthday probe cantata serenade BWV 1154=Anh. 194, which may have been repeated on 10 December 1722 as Bach's last birthday serenade presented to Prince Leopold. Probably for New Year's 1722 was performed the congratulatory cantata, BWV 1150-Anh. 197, "Ihr wallenden Wolken" (You raging clouds, Bach Digital), says Peter Wollny,¹⁰ for soprano and bass solo, 2 flutes, strings, cembalo obbligato, Bc (music, text lost), librettist, possibly Johann Friedrich Helbig (1680-1722) of Eisenach, (BCW), who also may have been the librettist for BWV 184.1 for New Year's 1721.¹¹

August 1721: Performances Outside Cöthen

Bach's librettist Hunold-Menantes died on 6 August 1721 in nearby Halle and during this time Bach actively began seeking another librettist and possibly other employment. On 2 August, an untitled homage cantata was presented for Friedrich II of Saxe-Gotha (BCW: "Other celebratory music"). A possible work is the Latin Birthday Ode, BWV 1155=Anh. 20,¹² presented at Leipzig University on 9 August 1723. Bach previously had presented his Weimar/Gotha Passion, BWV deest BC D-1 (Bach Digital) on 26 March 1717 and was close friends with Gottfried Heinrich Stölzel, who became Gotha Kapellmeister in November 1719. Then, between 7 and 13 August 1721, Bach visited the independent Reuß-Schleiz Court of Heinrich XI Count von Reuß with an untitled church performance in the court place (DOK II: 107), possibly Cantata 69.1 to a text of court librettist Knauer,¹³ involving "a trip of at least five days" from Cöthen, says Robert L. and Traute M. Marshall.¹⁴ On 13 August 1721, at the beginning of his return to Cöthen, Bach stopped off at Gera, the capital of the county of Reuß-Gera, where later in early June 1725 he examined and dedicated the St. John's Church organ, say the Marshalls (Ibid.: 138f), during his first vacation since coming to Leipzig. On 9 August 1722, probe piece birthday cantata, O vergnügte Stunden, BWV 1154=Anh. 194,¹⁵ was presented for Prince Johann August of Anhalt-Zerbst; text August Gotthelf von Koseritz, chancellor of Privy Council (1674-1728, Bach Digital, text Bach Digital. In September 1722 Johann Friedrich Fasch was appointed Kapellmeister (BCW). This dialogue serenade may have been repeated on 10 December 1722, Bach's last birthday tribute to Prince Leopold. On 9 August 1722, probe piece birthday cantata, O vergnügte Stunden, BWV 1154=Anh. 194, was presented for Prince Johann August of Anhalt-Zerbst; text August Gotthelf von Koseritz, chancellor of Privy Council (1674-1728, Bach Digital, text Bach Digital. In September 1722 Johann Friedrich Fasch was appointed Kapellmeister (BCW). This dialogue serenade may have been repeated on 10 December 1722, Bach's last birthday tribute to Prince Leopold.

Leipzig 1723: Cöthen Music Recycled

"Bach's official inauguration [as cantor and music director] was originally planned for Pentecost (May 16-18] 1723 but had to be postponed by two weeks for unknown reasons," says Wolff (Ibid.: xxiii)f. After signing his work contract on April 19, "Bach first prepared himself for the earlier inauguration and scheduled performances of the cantata "Wer mich liebet, der wird mein Wort halten" [He who loves me will keep my commandments, Jn. 14:23, trans Ambrose, UVM], BWV 59 [BCW], for Whitsunday, as well as "Erhotes Fleisch und Blut" [Exalted flesh and blood, trans. Ambrose, UVM], BWV 173 [BCW]; and "Erwünschtes Freudenlicht" [O welcome light of joy], BWV 184 [BCW], for the second and third days of Pentecost, respectively; given the time pressure, all were parodies of vocal works from the Cöthen period." "It remains to be seen whether this cantata [59] was performed on Whitsunday, May 16, 1723, at the 'Old Service' in St. Paul's, the University church. In any case, Bach postponed the completion of the three Pentecostal cantatas to the following year [28-30 May 1724], when they were performed at the Leipzig main churches. "During his first year in Leipzig, Bach made greater use than heretofore assumed of vocal works from the Cöthen years," citing BWV 75, 69.1, and 119, "in addition to cantatas from the Weimar period" (BCW). In addition to instrumental dance suites and concertos created in Cöthen but sometimes begun in Weimar, is the key wedding cantata "Weichet nur, betrübte Schatten" (Yield I say, ye brooding shadows, trans. Ambrose, UVM), BWV 202 for soprano, oboe, and strtings (BCW). It could have begun in early 1716 when the Weimacourt held several celebrations, beginning with the 24 January wedding of Weimar Duke Ernst August to Princess Eleonore Wilhelmine of Anhalt-Cöthen, sister of Prince Leopold, who attended and "had the opportunity to hear and admire the Weimar concertmaster" Bach, says Wolff (Ibid.: 177f). Michael Maul's description of Cantata 202 includes arias stylized with a "French passepied" and "a lovely gavotte" (see BCW: "Weimar Period Origin"). There are two possible dates in lste 1721, 3 December when Sebastian married Anna Magdalena (Dok 2: 110, NBR 86) and 11 December, marriage of Prince Leopold to Friederica Henrietta of Anhalt-Bernburg (Dok 1: 23).

Weimar, Cöthen Instrumental, Dance Music

At about the same time in Weimar in 1716, Bach began composing dance-style orchestral suites with a variety of dance genres and French-style overtures, some of which found their way into Leipzig sacred cantatas with vocal overlay. The earliest versions of the Four Orchestral Suites, BWV 1066-69, which took their final form in Leipzig in the second half of the 1720s, are scored strictly for strings and continuo, having no woodwind choir or trumpets and drums. The dating of Siegbert Rampe is:¹⁶ Overture No. 4, BWV 1069(a), Weimar c1716 with winds and strings; Overture No. 3, BWV 1068(a), Cöthen c1718; Overture No. 1, BWV 1066a, Cöthen c.1719/20; and Overture No. 2, BWV 1067(a), Cöthen before 1723. The individual French Overtures are dated as follows: Overture BWV 119(a) and Overture BWV 97(a), Weimar c.1715-17. Festive instrumental dance materials composed in Cöthen as serenades were adapted in Leipzig to support extended cantatas. Congratulatory Cantata 194.1, ¹⁷ text lost, involves a dance suite of arias, (1) French Overture, (3) 12/8 Pastorale, (5) 2/2 Gavotte, (7) no extant, (9) 4/4 gigue, and (11) 3/4 menuet, with accompanying vocal texts, including new recitatives for the Leipzig version, BWV 194 (Nos. 2, 4, 7, 9, 11). These dances are found in a reconstruction of Alfred Dürr in the Neue Bach Ausgabe I/35 Critical Commentary 1964, "Mutmaßliche Glückwunschkantate (Presumed congratulatory cantata BWV 194a; Instrumentation: Soli, Mixed Chorus, Orchestra (Bärenreiter. The Leipzig version is BWV 194.3, "Höchsterwünschtes Freudenfest" (O most lovely feast of joy, trans. Ambrose, UVM) for the Trinityfest 1724 (BCW, BCW). Besides the varied Brandenburg Concertos, violin and cembalo concertos, and overtures and dance suites composed in Cöthen, Bach also composed a wealth of other instrumental pieces for his capelle, most of which are lost, although Bach was able to salvage a few. One is an instrumental concerto in ABA form which originally was an instrumental sinfonia, scored for 3 trumpets and drums, 2 oboes, strings, and Basso continuo. It could have been the opening of a court serenade or Tafelmusik which was adapted in 1725 to introduce Bach's first dramma per musica, Shepherds' Cantata "Entflieht, verschwindet, entweichet, ihr Sorgen" (O flee now and vanish, O yield all ye sorrows, trans. Ambrose, UVM), BWV 249.1, with four mythological characters BCW/. The opening is a festive allegro for all the instruments, followed by an andante lament for solo oboe or flute and strings, followed by the festive allegro aria-duet with vocal text overlay (YouTube).

ENDNOTES

¹ Friedrich Smend, Bach in Köthen, 1951; English edition edited & revised Stephen Daw (St. Louis: Concordia Publishing, 1985: 34), Anazon.com.
² Cöthen dating confirmed in Robin A. Leaver, Part VI, Chronology, (Chapter) 20 Life and Works 1685-1750, The Routledge Research Companion to Johann Sebastian Bach, ed. Robin A. Leaver (London: Routledge, 2017: 497), also other details, BCW "Guide to Bach Tour Köthen (Anhalt)," BCW.
³ Andreas Bomba, liner notes, Congratulatory and Homage Cantatas, trans. Miguel Carazo & Associates; Gächinger Kantorei Stuttgart / Bach-Collegium Stuttgart, Helmuth Rilling, Hänssler 92.139 (Stuttgart: Edition Bachakademie Vol. 139, 2000: 48), BCW.
⁴ Peter Wollny, Überlegungen zu einem Köthener Vokalwerken J. S. Bachs" (Reflections on some Köthen vocal works of J. S. Bach), in Bach Jahrbuch 106 (2020), Google Books.
⁵ Bach's travels in August 1721 and 1722 are documented in Barbara M. Reul, Chapter 9, The Court of Anhalt-Zerbst, in Music at German Courts, 1715-1760: Changing Artistic Priorities, ed. Samantha Owens, Barbara M. Reul, and Janice Stockigt (Woodbridge UK: Boydell Press: 263-65), Amazon.com: "Look inside"), and Andrew Talle, Chapter 8, Courts, in The Routledge Research Companion to Johann Sebastian Bach (Ibid.: 208).
⁶ Bach-Werke-Verzeichnis: BWV³, Thematische-systematisches Verzeichnis der musikalischen Werke von Johann Sebastian Bach (Thematic and systematic index of the musical works of Johann Sebastian Bach), Dritte, erweiterte Neuausgabe (Third revised edition); eds. Christine Blanken, Christoph Wolff, Peter Wollny (Wiesbaden: Breitkopf & Härtel, 2022), (Breitkopf; see critique, BCW.
⁷ Christoph Wolff, Johann Sebastian Bach: The Learned Musician, Updated ed. (New York: W. W.Norton & Company, 2013: xxii), W.W. Norton; "a Day of Repentence ceremony held in Cöthen every five years," says Wolff (Ibid.); Wolff's source is Michael Maul, Peter Wollny, "Quellekundliches zu Bach Auffuhrungen in Kothen, Ronneburg, und Leipzig zwischen 1720 und 1760" (Sources for Bach Performances in . . . .) BJ (2003): 97-141; Bach-Jahrbuch.
⁸ Michael Maul, Peter Wollny, "Quellenkundliches zu Bach-Aufführungen in Köthen, Ronneburg und Leipzig zwischen 1720 und 1760," in Bach-Jahrbuuch 89 (2003): 97-99; Bach-Jahrbuch
⁹ Martin Petzoldt, Bach-Kommentar: Theologisch Musikwissenschaftlicke Kommentierung der Geistlichen Vokalwerke Johann Sebastiian Bachs; Vol. 2, Die Geistlichen Kantaten vom 1.Advent bis zum Trinitatisfest; Internationale Bachakademie Stuttgart (Kassel: Bärenreiter, 2007: 965).
¹⁰ Peter Wollny, Überlegungen zu einem Köthener Vokalwerken J. S. Bachs" (Reflections on some Köthen vocal works of J. S. Bach), in Bach Jahrbuch 106 (2020): 84
^{11 "}Für das Jahr 1721 wird vielfach das Fragment BWV 184a in Anspruch genommen, doch lassen sich den funf erhaltenen Instrumentalstimmen (in St 24) keine Hinweise auf den Bestimmung des Werkes entnehmen" (Bach Digital)." The fragment BWV 184a is often claimed for the year 1721, but the five surviving instrumental parts (in St. 24) give no indication of the purpose of the wor(Google translate). Cantata 184a has the use of transverse flutes for the first time in Bach's music.
¹² BWV 1155=Anh. 20 [Latin Birthday Ode] (no title), BCW; birthday music for Duke Frederick II of Saxony-Gotha on 9 August 1723; no text extant. Most of the university's "larger academic ceremonies took place" in the main auditorium, "including the quarterly orations," says Christoph Wolff.^* The oration was "accompanied by an exquisite music" of Bach, says a press account (BD II: 156). The text and music are lost but "the evidence suggests that Bach tended to be called on for particular important and ceremonial occasions," says Wolff. A report cites Bach as "summus artifex" and that the odes "fit the occasions so perfectly" that "everyone admired them." BCW. * Christoph Wolff, see two sections, "Music Director at the University" (311-19), and "Professional Colleagues and University Students" (319-331), Johann Sebastian Bach: The Learned Musician, Updated Ed. (New York: W. W. Norton, 2013: 314).
¹³ Schleiz Court librettist Knauer (either Johann Oswald, b. 1690, or Christian Friedrich, 1692-1742, source BWV 3: 823; BCW) furnished a 1720 printed libretto cycle which Bach used, most notably for Cantata 69.1, "Lobe den Herrn, meine Seele" (Praise thou the Lord, O my spirit, Ps. 103:2, trans. Ambrose; UVM), which may have originated in Cöthen. Knauer's cantata cycle is Gott-geheiligtes Singen und Spielen des Friedensteinischen Zions (Gotha, 1720); Facs: BJ (1981: 18-22) Google Books.
¹⁴ Robert L., Traute M. Marshall, Exploring the World of J. S. Bach: A Traveler’s Guide (Urbana IL: University of Illinois Press, 2016: 183f); published in cooperation with the American Bach Society; BCW.
¹⁵ BWV 1154=Anh. 194 articles: 1. Peter Wollny, "Neues zu Georg Balthasar Schott, Bachs Zerbster Geburtstagskantate," BJ 2007: 61-104, Bach-Jahrbuch; 2. Barbara Reul "O vergnügte Stunden / da mein Hertzog funden seinen Lebenstag: Ein unbekannter Textdruck zu einer Geburtstagskantate J. S. Bachs für den Fürsten Johann August von Anhalt-Zerbst," BJ 1999: 7-18, Bach-Jahrbuch; 3. Hans-Joachim Schulze, Johann Sebastian Bach und Zerbst 1722: Randnotizen zu einer verlorenen Gastmusik (Randnotizen zu einer verlorenen Gastmusik. Marginal Notes on a Lost Guest Music) BJ 2004: 209-214), Bach-Jahrbuch. "Der Beitrag setzt sich mit der Frage nach Auftraggeber und Textdichter sowie dem Aufführungstermin der von J. S. Bach für den Geburtstag Johann August von Anhalt-Zerbsts komponierten Kantate auseinander." The article deals with the question of the commissioner and lyricist as well as the performance date of the cantata composed by J. S. Bach for the birthday of Johann August von Anhalt-Zerbst. Bach-Jarbuch; 4. Peter Wollny, "Neue Ermittlungen zu Aufführungen Bachscher Kirchenkantaten am Zerbster Hof" (New investigations into performances of Bach's church cantatas at the Zerbst court), in Bach und seine mitteldeutschen Zeitgenossen Eisenach: Wagner, 2002: 199-217.
¹⁶ See Siegbert Rampe, "J. S. Bach, the Early Overtures," liner notes 2001, BCW: 7; includes Rampe reconstructions of early versions of BWV 97a, 119a, and 1067-9, and References (bibliography), music, Discogs.
¹⁷ Cantata BWV 194.1, Bach Digital; parts, Bach Digital; BWV 194 music, YouTube.

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To come: Leipzig composer competition, musings of an "Historical Capriccio," and a drama, "Bach at Leipzig."