this day. There is documentary evidence that the cantata was performed at a memorial service the following day, but it has been suggested by Andrew Parrott that part of the cantata would have been appropriate for the burial service. There is also documentary evidence regarding the performers, which throws light on the scoring. The composer's wife, Anna Magdalena Bach was soprano soloist and Christian Ferdinand Abel was probably a soloist on viola da gamba. Reconstructions The possibility of a reconstruction arose when the nineteenth-century scholar Wilhelm Rust discovered that Bach in part built the Trauermusik with movements from two other works: the Trauer-Ode for the Electress of Saxony Laß, Fürstin, laß noch einen Strahl, BWV 198 the St Matthew Passion Bach sometimes reused an earlier composition, typically revising and improving it in a process called parody. Exactly how Bach recycled his music in this case is open to interpretation. However, Bach may have simply given his musicians music sheets from the existing works to save copying another set. The close relationship between the Passion and the Trauermusik for Prince Leopold is reflected in their sharing a number in the Bach-Werke-Verzeichnis (BWV), the standard catalogue of Bach's works. However, the relationship is complicated by the fact that, although the first performance of the Passion appears to predate the Trauermusik, the Passion was revised by Bach for later performances. Several reconstructions exist: Polish musicologist Władysław Gnat reconstructed in 1999 all parts except recitatives, which were to be performed by a speaker. The performance took place on 24 March 1999 (the 270th anniversary of original performance) in the Franciscan Church in Poznań, Poland with the baroque orchestra, led by Marcin Sompoliński. The German musicologist Hans Grüß reconstructed in 2000 all arias and most of the choruses. In this version the text of the recitatives has to be performed by a speaker. The first complete reconstruction was made by Andrew Parrott and first performed under his direction by the New York Collegium in 2004. Six years later Parrott made a recording of this edition with the UK-based Taverner Consort and Players (see recording section below). The German harpsichordist Alexander Ferdinand Grychtolik made an edition of another full reconstruction of the Trauermusik in 2010. In this version most of the recitatives of the Trauermusik are adapted from accompagnato recitatives of the St Matthew Passion. This reconstruction is based on the assumption of German musicologist that