his cantata for the 22nd Sunday after Trinity Sunday, Ich armer Mensch, ich Sündenknecht, BWV 55, for solo tenor, SATB, flauto traverso, oboe, violino I/II, viola, organo and continuo, in G minor. For the final three movements of the work, a sequence of aria, recitative and chorale, Bach employed movements 7 to 9 of the above-mentioned list of movements of the Weimarer Passion. The chorale setting BWV 283, number 6 of the list above, was later included in the collection of chorales that Carl Philipp Emanuel Bach and Johann Philipp Kirnberger compiled and Johann Gottlob Immanuel Breitkopf published between 1784 and 1787 (BWV 253-438). Between 1728 and 1731, Bach again revived his Quinquagesima cantata Du wahrer Gott und Davids Sohn. This time he set it in C minor and removed the brass parts from the final movements and revised its vocal parts. Finally, on 29 March 1736, 23 March 1742, and between 1743–1746, Bach revived his St Matthew Passion in a new form. In this version, he replaced the original four-part chorale setting that ends Part I with the chorale fantasia that he used in both the Weimarer Passion and as movement 1 of the 1725 (second) version of the St John Passion. This time, he scored it in E major for 2 choirs, 2 orchestras, 2 organs (and ripieno soprano choir in the 1742 and 1743-6 versions). Vocal and instrumental forces The conjectured scoring for the work (based on the scoring of the aforementioned movements that had been reused in other forms) is: tenor and bass soloists, choir SATB, flauto traverso I/II, oboe I/II, violino I/II, viola, basso continuo. There is evidence (in the form of payment records) that the continuo also consisted of one or two lutes. This would therefore be a total of 20 instrumentalists, to which would be added an organist and harpsichordist. Bach would probably be the harpsichordist, as according to the surviving information we have about his conducting position, he often conducted from the harpsichord. However, it is possible that Bach could have led the ensemble from the violin, as with other performances from the Weimar period. For Passion music, there would be no trumpets and timpani. The vocal forces would require 12-16 singers (3-4 per part) Notes References External links BWV 23b (libretto) at bachdiskographie website BWV 23c (libretto) at bachdiskographie website BWV 245, second version of 1725 (libretto) at bachdiskographie website Lost