chorale cantatas with a first performance in Leipzig between Trinity Sunday 1724 and Easter 1725 (not included). Nonetheless, the chorale cantata qualifier is not entirely correct for the BWV 80 and 80b versions of the cantata, due to the inner movements of these versions largely deriving from a pre-existing libretto elaborating on other topics beside the Lutheran hymn. The third cantata cycle years 1725 (BWV 79), 1726 and 1727 (mourning period without figural music) are usually not seen as possible dates for the first performance of the BWV 80b version. In 1728 Reformation Day again coincided with Trinity XXIII: a Picander libretto for that occasion may have been set by Bach. However, conventional scholarship assigns 1728–1731 as the period during which the BWV 80b version of the cantata was likely performed for the first time. Bach's ultimate BWV 80 version originated some time after the 80b version, and was completed before it was copied in the 1740s. As such, this version of the cantata is seen as a later addition to the chorale cantata cycle. Two movements of the BWV 80 version known from the BGA edition have an orchestration which the composer's son Wilhelm Friedemann extended with trumpets after his father's death. Occasions without an extant second cycle cantata Bach composed more cantatas for his chorale cantata cycle after Trinity 1725, apparently in an effort to have a complete standard year cycle consisting exclusively of such cantatas: Ach Gott, wie manches Herzeleid, BWV 58: cantata for New YearI (= ChristmasII). An early version of this cantata, for , is partially lost. The later extant version, premiered or , was published by the Bach-Gesellschaft in their volume Vol.122, p. 133 ff. There had not been a Sunday between New Year and Epiphany in 1725: although the cantata is not completely consistent with the chorale cantata format it was intended as the chorale cantata cycle's New YearI cantata. Wär Gott nicht mit uns diese Zeit, BWV 14, composed for EpiphanyIV 1735 (there hadn't been an EpiphanyIV Sunday in 1725). This is the only chorale cantata of the chorale cantata cycle that was ostensibly composed after 1734, in contrast to Philipp Spitta's assumption in the 19th century that almost all chorale cantatas had been composed after 1734. It is however true that Bach revised some of his chorale cantatas in the last years of his life, and that these are the versions