the instrumentation to alto, oboe and violin, possibly because he did not have players at hand for the first woodwind setting. In the second aria the contrast of (suffering) and (joy) is expressed by chromatic, first down, then up, and vivid coloraturas. The closing chorale is the same as the one of , of 1714, but for no apparent reason without the obbligato violin. Recordings J. S. Bach: Das Kantatenwerk – Sacred Cantatas Vol. 4, Nikolaus Harnoncourt, Tölzer Knabenchor, Concentus Musicus Wien, soloist of the Tölzer Knabenchor, Paul Esswood, Kurt Equiluz, Ruud van der Meer, Teldec 1977 J. S. Bach: Complete Cantatas Vol. 6, Ton Koopman, Amsterdam Baroque Orchestra & Choir, Ruth Ziesak, Elisabeth von Magnus, Paul Agnew, Klaus Mertens, Antoine Marchand 1997 J. S. Bach: Cantatas Vol. 13, Masaaki Suzuki, Bach Collegium Japan, Yoshie Hida, Kirsten Sollek-Avella, Makoto Sakurada, Peter Kooy, BIS 1999 Edition Bachakademie Vol. 140 – Sacred Vocal Works, Helmuth Rilling, Gächinger Kantorei, Bach-Collegium Stuttgart, Sibylla Rubens, Anke Vondung, Marcus Ullmann, Hänssler 1999 Bach Cantatas Vol. 6, John Eliot Gardiner, Monteverdi Choir, English Baroque Soloists, Katharine Fuge, Robin Tyson, Christoph Genz, Peter Harvey, Soli Deo Gloria [2000] References Sources Cantata BWV 69a Lobe den Herrn, meine Seele: history, scoring, sources for text and music, translations to various languages, discography, discussion, Bach Cantatas Website Chapter 15 BWV 69a Lobe den Herrn, meine Seele / Bless the Lord, my soul. Julian Mincham, 2010 Luke Dahn: BWV 69a.6 bach-chorales.com Church cantatas by Johann Sebastian Bach Psalm-related compositions by Johann Sebastian Bach 1723 compositions