There were also two earlier settings composed in Bach's second period at Weimar in the 1710s, one in five parts with a double-pedal. During his second period in Weimar, Bach had also envisaged expanding his collection of 46 chorale preludes in the miniaturist Orgelbüchlein. Empty manuscript pages were allocated for the projected 164 chorale preludes; as with "An Wasserflüssen Babylon," only the title appears. In BWV 653 the same melancholic sarabande-like music of the chorale prelude can be heard in Bach's closing movements of the monumental Passions: the increasing chromaticism and passing dissonances create a mood of pathos. The mournful cantus firmus of BWV 653 is heard in the tenor voice en taille, accompanied by the two higher voices of the imitative ritornello with its steady crotchets and quavers in the pedals. The coda of BWV 653 shares some compositional features of Reincken's chorale prelude: the ornamental descending flourish at the end of Reincken's coda can be compared with Bach's closing coda of BWV 653 with scales in contrary motion in the lower manual and pedal. As Stinson writes, "It is hard not to believe that this correspondence represents an act of homage." Despite being composed in Leipzig within the traditions of Thuringia, however, Bach's contemplative "mesmerising" mood is far removed from his earlier improvisatory compositions in Hamburg and Reincken's chorale fantasia: the later chorale prelude is understated, with its cantus firmus subtly embellished. There was also a four-part harmonisation of the chorale, BWV 267, published after Bach's death. It was part of a collection of 149 four-part chorales, made by the Thomasschule copyist Johann Ludwig Dietel in 1735 and unearthed only in 1981. has given a detailed historical account of how the chorales were discovered, including background on the three Berlin musicians who first set about publishing them in the second half of the eighteenth century–Friedrich Wilhelm Marpurg, C. P. E. Bach and Johann Kirnberger. During that period, copies of the harmonisation have been found in G major and in A-flat major, both as "An Wasserflüssen Babylon" and as "Ein Lämmlein geht und trägt die Schuld": in the Breitkopf edition of the 1780s it appears as No. 5 in G major under the former title and as No. 308 in A-flat major under the latter title. In Schemelli's 1736 hymnal, to which Bach collaborated, the key of the "An Wasserflüssen Babylon" hymn, No. 587, is given as "D", and