third cycle cantatas for the Christmas season, BWV 110, 57, 151 and 16, were on a text from Georg Christian Lehms's Gottgefälliges Kirchen-Opffer cantata libretto cycle, which had been published in 1711. In the second half of the 1720s Bach often collaborated with Picander as a librettist for his cantatas. The Shepherd Cantata, BWV 249a, first performed on 23 February 1725, one of Bach's secular cantatas, is an early example of such cantata. Bach reused the music of this cantata in the 1725 first version of his Easter Oratorio. Ihr Häuser des Himmels, ihr scheinenden Lichter, BWV 193a, composed in 1727, is another secular cantata on a text by Picander which was, shortly after its first performance, reworked into a sacred cantata (Ihr Tore zu Zion, BWV 193). In 1728–29 Picander published a cantata libretto cycle, leading to at least two further Christmas season cantatas by Bach: Christmas Day 1728, or possibly 1729: Ehre sei Gott in der Höhe, BWV 197a. New Year's Day 1729: Gott, wie dein Name, so ist auch dein Ruhm, BWV 171, with music in part adapted from the secular cantata, likewise on a text by Picander, Zerreißet, zersprenget, zertrümmert die Gruft, BWV 205. A Christmas oratorio presented as a cycle of six cantatas, to be performed on several days during the Christmas period, was not uncommon in Bach's day: Gottfried Heinrich Stölzel, whose church music was not unknown to Bach and Leipzig churchgoers, had composed such Christmas oratorios in 1719 and 1728. 1730s Models from earlier compositions In the early 1730s, Bach composed a number of secular cantatas, including: So kämpfet nur, ihr muntern Töne, BWV 1160, on a libretto by Picander, first performed on (music lost, apart from later versions of the opening chorus). Laßt uns sorgen, laßt uns wachen, BWV 213 (Hercules at the Crossroads), on a libretto by Picander, performed on . Tönet, ihr Pauken! Erschallet, Trompeten!, BWV 214, performed on . Preise dein Glücke, gesegnetes Sachsen, BWV 215, performed on . Movements from the BWV 213, 214 and 215 cantatas form the basis of several movements of the Christmas Oratorio. In addition to these sources, the sixth cantata is based on a largely lost church cantata, BWV 248a, of which at least the opening chorus is based on the lost secular cantata BWV 1160. The trio aria in Part V "Ach, wenn wird die Zeit erscheinen?" is believed to be from