Passion it is unclear which composition may have been meant by the authors of the Nekrolog. Jesus Christus ist um unsrer Missetat willen verwundet as arranged and expanded by Bach is one of the more likely candidates, along with the somewhat elusive Weimarer Passion, and Wer ist der, so von Edom kömmt, a pasticcio including a few movements by Bach (although it is unclear whether Bach actively contributed to this pasticcio – possibly it was not assembled until after the composer's death). Weimar, 1710–1714 (BC D 5a) No evidence exists that Bach was required (in his official duties) to provide Passion music for his early posts in Weimar (1703), Arnstadt (1703–1707), Mühlhausen (1707–1708), and Weimar (1708–1717). However, he did receive requests to do so on two occasions: once on commission by Frederick III, Duke of Saxe-Gotha-Altenburg (resulting in the so-called Weimarer Passion (BWV deest, BC D 1), and another resulting in his first version of Jesus Christus ist um unsrer Missetat willen verwundet. The origins of the commission for this work (BWV deest, BC D 5a) are unknown. All documentary material for Bach's time in Weimar during this period (1708–1717) were destroyed in a 1774 fire that consumed the palace that Bach was employed in during this period, the Wilhelmsburg. The only evidence that has come down is a set of performance parts archived in the Staatsbibliothek zu Berlin (SBB). There are many questions still surrounding this work. Many scholars question whether the set of parts that we have are complete. Even the dating is questionable. Originally, scholars assigned the dating to Good Friday (14 April) 1713, but is now put down to Good Friday (25 March) 1712 or even a year or two earlier., or even Good Friday (30 March) 1714 The work is in 32 movements, of which two were composed by Bach (No. 14 "O hilf, Christe, Gottes Sohn", BDW and No. 29 "O Traurigkeit, o Herzeleid", BDW ): Sonata and Chorus: Jesus Christus ist um unser Missetat willen verwundet Recitative (Evangelist, Jesus, Petrus): Und da sie den Lobgesang gesprochen hatten Aria (soprano, basso continuo): Will dich die Angst betreten Recitative (Evangelist, Jesus): Und nahm zu sich Petrus und Jakobus und Johannes Chorale: Was mein Gott will, das g'scheh allzeit Recitative (Evangelist, Jesus): Und kam und fand sie schlafend Recitative (Evangelist, Judas): Und alsbald, da er noch redet Aria (tenor, violins, continuo): Wenn nun der Leib wird