On this page, I will share some of my favorite cantatas by Bach. For each cantata, I include a brief discussion, a link to a high-quality video, and a link to the German text with English translation. The videos are mostly from the Netherlands Bach Society’s “All of Bach” project (which aims to ultimately cover all the surviving works of Bach) or from the J. S. Bach Foundation (which covers only the vocal works of Bach). These are “period instrument” performances, with instruments that look and sound a bit different from their modern counterparts. Look, for example, at the valveless trumpet in the opening aria of “Jauchzet Gott in allen Landen.”
Another resource I have found useful is the “Listener’s Guide” to the cantatas by Simon Crouch, which provides commentary and a rating for each work. These ratings are subjective (and I certainly do not agree with all of them) but still useful in deciding where to start with the over 200 surviving cantatas of Bach.
The included cantatas are all favorites of mine, but listed in an essentially random order—except that I selected “Jauchzet Gott” as an sure-fire place to start. I am hoping to cover 20-30 cantatas when I get the chance. Enjoy!
Here are the cantatas I have added so far.
- Jauchzet Gott in allen Landen (Celebrate God in every land), BWV 51
- Wie schön leuchtet der Morgenstern (How beautifully shines the morning star), BWV 1
- Jesus schläft, was soll ich hoffen? (Jesus sleeps, what shall I hope for?) BWV 81
- Schwingt freudig euch empor (Soar joyfully upward) BWV 36
- Ich habe genug (I have enough) BWV 82
- Freue dich, erlöste Schar (Rejoice, redeemed flock), BWV 30
- Lobe den Herren, den mächtigen König der Ehren (Praise the Lord, the mighty king of honor), BWV 137
- Schweigt stille, plaudert nicht (Be quiet, don’t chatter) “Coffee Cantata” BWV 211
- Gottes Zeit ist die allerbeste Zeit (God’s time is the best time of all) “Actus Tragicus” BWV 106
- Herr Gott, dich lobe alle wir (Lord God, we all praise you), BWV 130
- Herz und Mund und Tat und Leben (Heart and mouth and deed and life), BWV 147
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Jauchzet Gott in allen Landen (Celebrate God in every land), BWV 51
This is a solo cantata for soprano—no other singers! In Bach’s day, the soprano parts were mostly sung by boy sopranos, but this cantata may be an exception, since the vocal part appears to be too high and difficult for a boy. Some have speculated that Bach’s second wife, Anna Magdalena, may have sung it! The cantata starts with a bang with a spectacular duet for trumpet and soprano. The more meditative third-movement aria (Highest [God], make your goodness new again every morning], is very affecting. The cantata ends on a high note (literally: a high C) with an aria based on a single word: Alleluia!
- Aria (soprano): Jauchzet Gott in allen Landen (Celebrate God in every land)
- Recitative (soprano): Wir beten zu dem Tempel an (We pray at the temple)
- Aria (soprano) Höchster, mache deine Güte (Highest [God], make your goodness)
- Chorale (soprano): Sei Lob und Preis mit Ehren (May there be glory and praise with honor)
- Aria (soprano): Alleluja!
Video from the Netherlands Bach Society with soprano Maria Keohane.
Text and English translation from Emmanuel Music.
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Wie schön leuchtet der Morgenstern (How beautifully shines the morning star), BWV 1
This lovely cantata has the well-deserved honor of being the very first listing in the BWV catalog of Bach’s works. The opening chorus is based on a hymn by Philipp Nicolai from 1599. Listen for the main melody of the hymn (“cantus firmus”) sung by the sopranos. Other highlights include a dazzling aria for soprano (“Fill, you divine flames of heaven, the faithful hearts that long for you!”), and a festive tenor aria.
- Chorus: Wie schön leuchtet der Morgenstern (How beautifully shines the morning star)
- Recitative (Tenor): Du wahrer Gottes und Marien Sohn (You true son of God and Mary)
- Aria (Soprano): Erfüllet, ihr himmlischen, göttlichen Flammen (Fill, you divine flames of heaven)
- Recitative (Bass): Ein ird’scher Glanz, ein leiblich Licht (A glitter from the earth)
- Aria (Tenor): Unser Mund und Ton der Saiten (Our mouths and the sound of strings)
- Chorale: Wie bin ich doch so herzlich froh (How full I am therefore of heartfelt joy)
Video from the J. S. Bach Foundation, conducted by Rudolf Lutz.
Text and English translation from Emmanuel Music.
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Jesus schläft, was soll ich hoffen? (Jesus sleeps, what shall I hope for?) BWV 81
According to the Netherlands Bach Society page for this cantata, Bach’s employers in Leipzig told him that his music should not be too “operatic.” Fortunately for us, he did not pay attention to this instruction when producing this dramatic piece about the time Jesus fell asleep in the boat during a raging storm. The cantata opens with a highly charged aria for alto, in which the soloist holds the word “schläft” (“sleep”) for loooonger than you can imagine to convey the terror the disciples must have felt. She continues with further drama: “Do I not see, with pallid face, death’s abyss already open?” There is then a tenor aria with slashing violins that conveys the fury of the storm—but curiously in a major key. Then the bass, in the voice of Christ, says, “You of little faith” twelve times, once for each disciple. (Bach loved this sort of numerological trick.) Jesus then goes on with “Schweig! Schweig!” (“Be silent!”) to the waves, and the cantata ends with the chorus singing “Beneath your protection, I am free from storms and all enemies.” You will not be disappointed!
- Aria (alto): Jesus schläft, was soll ich hoffen? (Jesus sleeps, what shall I hope for?)
- Recitative (tenor): Herr! warum trittest du so ferne? (Lord! why do you walk so far away?)
- Aria (tenor): Die schäumenden Wellen von Belials Bächen (The foaming waves of Belial’s streams)
- Arioso (bass): Ihr Kleingläubigen, warum seid ihr so furchtsam? (You of little faith, why are you so fearful?)
- Aria (bass): Schweig, aufgetürmtes Meer! (Be silent, towering sea!)
- Recitative (alto): Wohl mir, mein Jesus spricht ein Wort (How happy I am, my Jesus speaks a word)
- Chorale: Unter deinen Schirmen (Beneath your protection)
Video from the J. S. Bach Foundation.
Text and English translation from Emmanuel Music.
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Schwingt freudig euch empor (Soar joyfully upward) BWV 36
This cantata was written for the first Sunday of advent but is a joy to listen to at any time! The cantata is in two parts, which in a church service would have been separated by the sermon. The opening chorus sets the festive mood: “Soar joyfully upward to the lofty stars, you tongues, which are now joyful in Zion!” The movements that follow are of consistently high quality: a duet for soprano and alto, arias for tenor and bass, and the high point, the soprano aria: “Even with subdued, weak voices God’s majesty is honored if only the spirit resounds.” The soprano aria is accompanied by a solo violin played with a mute, to express the “subdued” voice mentioned in the text.
- Chorus: Schwingt freudig euch empor (Soar joyfully upward)
- Duet (soprano, alto): Nun komm, der Heiden Heiland (Come now, savior of the Gentiles)
- Aria (tenor): Die Liebe zieht mit sanften Schritten (Love draws with gentle steps)
- Chorale: Zwingt die Saiten in Cythara (Strike the strings in Cythera)
- Aria (bass): Willkommen, werter Schatz! (Welcome, worthy treasure)
- Chorale: Der du bist dem Vater gleich (You who are equal to the father)
- Aria (soprano): Auch mit gedämpften, schwachen Stimmen (Even with subdued, weak voices)
- Chorale: Lob sei Gott, dem Vater, g’ton (Praise be given to God, the Father)
Video from the J. S. Bach Foundation, featuring soprano Nuria Rial.
Text and English translation from Emmanuel Music.
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Ich habe genug (I have enough) BWV 82
This cantata was originally written for a solo bass voice, but Bach later wrote a version for soprano. The title expresses the feelings of Simeon in the Bible, who after holding the baby Jesus says:
Sovereign Lord, as you have promised,
You may now dismiss your servant in peace.
For my eyes have seen your salvation. (Luke 2:29-30)
The opening aria, accompanied by an oboe in the bass version and a flute in the soprano version, is one of Bach’s most beautiful. It expressed Simeon’s thoughts as:
I have enough.
I have taken the Savior, the hope of the righteous, into my eager arms.
I have enough.
The second aria is a lullaby (of the “sleep equals death” variety) that is another highlight of Bach’s cantata output: “Slumber, my weary eyes. Fall softly and close in contentment.” This cantata is not to be missed!
- Aria: Ich habe genug [or, in older German, “genung”] (I have enough)
- Recitative: Ich habe genug!
- Aria: Schlummert ein, ihr matten Augen (Slumber, my weary eyes)
- Recitative: Mein Gott! wenn kömmt das schöne: Nun! (My God, when comes the lovely “Now!”)
- Aria: Ich freue mich auf meinen Tod (With gladness, I look forward to my death)
Video from the J. S. Bach Foundation, with bass Peter Harvey—with English subtitles!
Video of the soprano version from La Divina Armonia, featuring a soprano with the wonderful name of Miriam Feuersinger (“firesinger”).
Text and English translation from Emmanuel Music.
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Freue dich, erlöste Schar (Rejoice, redeemed flock), BWV 30
This is another two-part cantata, with many enjoyable movements. After a festive opening chorus, the first bass aria is a lovely song of praise to God. The memorable alto aria that follows is about sinners saved by grace, with the happy tone emphasizing the positive side of that dichotomy. (I’m posting a humorous video about just that aria.) In the second part, another bass aria emphasizes the word hassen (hate) to show the singer’s desire to “hate and leave everything that is contrary to you, my God.” The following soprano aria is another standout. There different approaches to the tempo of this aria. A slower pace can be lovely but the faster pace of the video from the J. S. Bach Foundation is exciting, especially when paired with the soprano’s dramatic hair style! (See the third video link for the slower approach.) An all-around excellent cantata!
- Chorus: Freue dich, erlöste Schar (Rejoice, redeemed flock)
- Recitative (bass): Wir haben Rast (We have rest)
- Aria (bass): Gelobet sei Gott, gelobet sein Name (Praised be God, praised his name)
- Recitative (alto): Der Herold kömmt (The herald comes)
- Aria (alto): Kommt, ihr angefochtnen Sünder (Come, you troubled sinners)
- Chorale: Eine Stimme läßt sich hören (A voice is heard)
- Recitative (bass): So bist du denn, mein Heil, bedacht (Since it is your intention, my savior)
- Aria (bass): Ich will nun hassen (I want now to hate)
- Recitative (soprano): Und ob wohl sonst der Unbestand (And although in other ways inconstancy)
- Aria (soprano): Eilt, ihr Stunden, kommt herbei (Hurry, you hours, come on)
- Recitative (tenor)Geduld, der angenehme Tag (Be patient, the delightful day)
- Chorus: Freue dich, geheilgte Schar (Rejoice, sacred host)
Video from the J. S. Bach Foundation.
Video of the alto aria “Kommt, ihr angefochtnen Sünder” with mezzo-soprano Magdalena Kožená, with an appearance by J. S. Bach himself!
Video of the soprano aria “Eilt, ihr Stunden, kommt herbei” with soprano Franziska Bobe, taken at a slower tempo than in the video from the J. S. Bach foundation. (The aria starts at 1:22 in the video, after a recitative.)
Text and English translation from Emmanuel Music.
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Lobe den Herren, den mächtigen König der Ehren (Praise the Lord, the mighty king of honor), BWV 137
This cantata is based on a hymn by Joachim Neander from 1680, known in English as “Praise to the Lord, the Almighty, the King of Creation.” (My wife and I used this hymn in our wedding!) The five movements set five verses of the hymn to music, with the words unchanged. The hymn tune is present in some form in all five movements, but you may have to listen for it. In the first movement, as is often the case, the hymn tune is sung in a straightforward way (“cantus firmus”) by the sopranos, with the other voices and instruments weaving around them. In the second movement, the alto (or altos, depending on the recording) sing the melody with a lovely violin accompaniment. In the third-movement duet, the voices start with the first few notes of the hymn tune and then go in a different direction. The fourth movement is an aria for tenor, with the hymn tune supplied by a trumpet. The cantata closes with a straightforward harmonization of the hymn. If you are not familiar with the tune, you might want to take in the last movement first to know what to listen for, and then start again from the beginning. The hymn itself is enduringly popular and Bach does wonderful things with it!
- Chorus: Lobe den Herren, den mächtigen König der Ehren (Praise the Lord, the mighty king of honor)
- Aria (alto): Lobe den Herren, der alles so herrlich regieret (Praise the Lord who rules all things so excellently)
- Aria (soprano, bass): Lobe den Herren, der künstlich und fein dich bereitet (Praise the Lord who endows you with such subtle art)
- Aria (tenor): Lobe den Herren, der deinen Stand sichtbar gesegnet (Praise the Lord, who has clearly blessed your position)
- Chorale: Lobe den Herren, was in mir ist, lobe den Namen! (Praise the Lord, all that is in me, praise his name!)
Video from the J. S. Bach Foundation—with English subtitles!
Text and English translation from Emmanuel Music.
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Schweigt stille, plaudert nicht (Be quiet, don’t chatter) “Coffee Cantata” BWV 211
Most of Bach’s cantatas were church cantatas, written for a specific occasion in the liturgical calendar of the Lutheran church. (Many are tied, thematically, to the prescribed Scripture readings for a particular Sunday.) But Bach also wrote some secular cantatas, including this entertaining cantata about drinking coffee, which apparently was considered slightly scandalous in Bach’s day. There are three characters: the narrator (tenor), Herr Schlendrian (bass), and Liesgen, his daughter (soprano). The narrator invites us to be quiet and hear what is going on with Schlendrian and his daughter, at which point, Schlendrian sings an aria about how children cause “a hundred thousand aggravations.” After a recitative in which father and daughter argue about the daughter’s coffee habit, Liesgen sings a love song to coffee: “Lovelier than a thousand kisses, smoother than muscatel wine.” The two argue some more before Schlendrian sings an aria about “girls with obstinate minds.” He finally hits on the idea of offering to find a husband for her if Liesgen will give up coffee. Liesgen eagerly agrees—or so it seems—and sings a lusty aria about wanting a man this very day. Father then goes off to look for a husband, while daughter reveals that she will put into her marriage contract that she can have as much coffee as she wants! The cantata closes with father, daughter, and narrator singing a trio about how cats will never give up mice and women will never give up coffee. Great fun and lovely music!
- Recitative (narrator) Schweigt stille, plaudert nicht (Keep quiet, don’t chatter)
- Aria (Schlendrian) Hat man nicht mit seinen Kindern (Don’t we have with our children)
- Recitative (Schlendrian, Liesgen) Du böses Kind, du loses Mädchen (You bad child, you wild girl!)
- Aria (Liesgen) Ei! wie schmeckt der Coffee süße (Ah! how sweet coffee tastes!)
- Recitative (Schlendrian, Liesgen) Wenn du mir nicht den Coffee lässt (If you don’t give up coffee)
- Aria (Schlendrian) Mädchen, die von harten Sinnen (Girls with obstinate minds)
- Recitative (Schlendrian, Liesgen) Nun folge, was dein Vater spricht! (Now follow what your father says!)
- Aria (Liesgen) Heute noch (This very day)
- Recitative (narrator) Nun geht und sucht der alte Schlendrian (Now old Schlendrian goes off and looks out)
- Trio, Die Katze lässt das Mausen nicht (The cat does not leave the mouse)
Video from the Amsterdam Baroque Orchestra, featuring soprano Anne Grimm—set in a coffee shop with English subtitles.
Text and English translation from Emmanuel Music.
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Gottes Zeit ist die allerbeste Zeit (God’s time is the best time of all) “Actus Tragicus” BWV 106
This cantata was obviously intended as a funeral cantata, possibly for an uncle of Bach’s. It is also an early work, quite different stylistically from Bach’s later cantata style and consisting mostly of direct quotations from Scripture. It is, nevertheless, an emotionally powerful piece. The instrumental accompaniment is by two “flutes” (what we would call recorders today), two violas da gamba (old-fashioned stringed instruments similar to cellos but with a warmer sound), and the “basso continuo” (the bass part that plays continuously throughout the piece). The piece does not have movements in the traditional sense but flows from one section to another for a total of eight.
The easiest way to describe what is happening in the various sections is to quote more extensively than usual from the text. After an instrumental opening section, the chorus sings:
God’s time is the best time of all.
In him we live, and move and have our being (Acts 17:28), as long as he wills.
In him we die at the appointed time, when he wills.
Then the tenor sings:
Ah, Lord, teach us to consider that we must die, so that we might become wise (Psalm 90:2).
Next the bass sings:
Put your house in order; for you will die and not remain alive! (Isaiah 38:1).
After this comes the centerpiece of the cantata. The altos, tenors, and basses sing the bad news:
It is the ancient law: man, you must die!
while the soprano floats above them singing words of hope:
Yes, come Lord Jesus! (Revelation 22:20)
There is a magical moment at the end of this section where the lower voices and the instruments fade away, the soprano gently sings “Come Lord Jesus” one last time—and then there are several seconds of expectant silence. This ending of the section is poignantly “unfinished,” reflecting our yearning for the coming of Jesus.
The closing sections of the cantata turn from the inevitability of death to the hope of heaven. First, the alto sings the words of Jesus on the cross: “Into your hands I commit my spirit” (alto, from Luke 23:46, quoting Psalm 31:6). Then the bass sings the words of Jesus to the thief on the cross: “Today you will be with me in Paradise” (bass, Luke 23:43), while the alto sings words of “peace and joy” from Simeon, who before his death saw the savior. The cantata then ends with a lovely closing hymn: “Glory, Praise, Honor, and Majesty.” And Bach being who he was did not just give us a straightforward harmonization of the hymn but closes with a little fugue on the final line: “[victorious] through Jesus Christ. Amen.”
Bach probably wrote this amazing piece when he was only 22 or 23 years old!
Video from the Netherlands Bach Society—with English subtitles!
Text and English translation from Emmanuel Music.
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Herr Gott, dich loben alle wir (Lord God, we all praise you), BWV 130
The occasion for this high-octane cantata is Michaelmas, the feast celebrating the archangel Michael and his defeat of “the great dragon … the serpent of old who is called the devil and Satan” (Revelation 12:7–9). The opening chorus sings the praise of God for his creation of the angels, accompanied by trumpets and timpani. The words are drawn from a hymn by Paul Eber. The sopranos, as is often the case, sing the hymn tune, known as the Old Hundredth or (to many of us) as the tune of The Doxology. After a recitative, the bass soloist sings a dramatic aria about Satan’s attempts to divide God’s little flock, while the trumpets blare with Satan’s ultimately impotent rage. The tenor aria that follows the second recitative then changes the emphasis back to the angels that protect us, with a heavenly (and virtuosic) flute line accompanying the tenor’s celebration of the “Prince of the cherubim.” The cantata closes with a straightforward harmonization of the lovely hymn tune from the opening chorus.
- Chorus: Herr Gott, dich loben alle wir (Lord God, we all praise you)
- Recitative (Alto) Ihr heller Glanz und hohe Weisheit zeigt (Their dazzling brilliance and lofty wisdom show)
- Aria (bass) Der alte Drache brennt vor Neid (The ancient dragon burns with envy)
- Recitative (soprano, tenor) Wohl aber uns, dass Tag und Nacht (But how fortunate we are that day and night)
- Aria (tenor) Lass, o Fürst der Cherubinen (Grant, O Prince of cherubim)
- Chorus: Darum wir billig loben dich (Therefore we rightly praise you)
Video from the Netherlands Bach Society.
Text and English translation from Emmanuel Music.
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Herz und Mund und Tat und Leben (Heart and mouth and deed and life), BWV 147
This cantata is “the grandaddy of them all,” the one that you already know, even if you don’t know that you know it! If you have ever heard “Jesu, joy of man’s desiring” at a wedding, then you are familiar with not one but two movements of “Herz und mund.” But the rest of the cantata is also top-notch, starting from the festive opening chorus accompanied by trumpets, oboes, and strings:
Herz und Mund und Tat und Leben
Muss von Christo Zeugnis geben.
Heart and mouth and deed and life
must bear witness to Christ.
The cantata celebrates the angel’s visit to Mary to tell her that she will give birth to the savior, and to encourage believers to acknowledge the savior, too. A lovely, gentle aria for alto follows a recitative, accompanied by an oboe d’amore (literally, “oboe of love,” a sort of oversized oboe), with the text “Do not be ashamed, O soul, to acknowledge the savior.” The recitative for bass that follows paraphrases part of the Magnificat (Mary’s song of praise), telling how God raises the humble but thrusts the mighty from their thrones.
The fifth movement is a superb aria for soprano with a lovely violin accompaniment. Then follows the first occurrence of the famous melody—or, rather, a pair of melodies—with the words (translated literally from the German):
What joy for me that I have Jesus,
Oh, how firmly I hold on to him.
The second part of the cantata has high-quality arias for tenor and for bass and closes with another verse of that famous chorus:
Jesus remains my joy,
the comfort and life’s blood of my heart.
It’s worth noting that the traditional English text “Jesu, joy of man’s desiring” is unrelated to the German text that Bach used, besides the overall theme of Jesus.
- Chorus: Herz und Mund und Tat und Leben (Heart and mouth and deed and life)
- Recitative (tenor): Gebenedeiter Mund! (Blessed mouth!)
- Aria (alto): Schäme dich, o Seele nicht (Do not be ashamed, O soul)
- Recitative (bass): Verstockung kann Gewaltige veblenden (Astonishment might dazzle the mighty)
- Aria (soprano): Bereite dir, Jesu, noch itzo die Bahn (Prepare, Jesus, even now the path for yourself)
- Chorale: Wohl mir, daß ich Jesum habe (What joy for me that I have Jesus)
- Aria (tenor): Hilf, Jesu, hilf, daß ich auch dich bekenne (Help, Jesus, help that I may also acknowledge you)
- Recitative (alto): Der höchsten Allmacht Wunderhand (The wondrous hand of the exalted Almighty)
- Aria (bass): Ich will von Jesu Wundern singen (I will sing of Jesus’ wonders)
- Chorale: Jesus bleibet meine Freude (Jesus shall remain my joy)
Video from the J. S. Bach Foundation—with English subtitles!
Text and English translation from Emmanuel Music.
Video of the English version of the famous chorus. You can also find arrangements online for piano, organ, harp, and any number of other instruments!