cantatas breaks off. Continuation of the second annual cycle Newly composed cantatas, to make the year cycle complete up to Trinity Sunday, were no longer in the chorale cantata format, possibly because Bach lost his librettist, likely Andreas Stübel, who died on 31January 1725. Only three cantatas staged between Good Friday and Trinity of 1725 became associated with the chorale cantata cycle. Bach's second year cycle of cantatas is complete apart from the cantatas for ChristmasII, EpiphanyIV–VI, and TrinityIV, VI, XII and XXVI–XXVII. For most of the occasions that lack a cantata in the second cycle there are however extant chorale cantatas. Good Friday and Easter Bach did not present much newly composed music for the Good Friday and Easter services of 1725. The St John Passion, which was a repeat performance of the previous year, now in the St. Thomas church (where Bach had initially attempted to stage its premiere), did, however, contain four new movements (BWV 244/29, 245a, 245b and 245c). For Good Friday Bach presented the second version of his St John Passion, the only version of that Passion opening with a chorale fantasia (BWV 244/29, based on Sebald Heyden's "O Mensch, bewein dein Sünde groß"). On Easter, , Bach had two cantatas performed: A revised version of the chorale cantata , the first version of which had likely been composed 18 years earlier. Kommt, fliehet und eilet, in 1725 indicated as a cantata, is what in later versions would become Bach's Easter Oratorio. It was a parody of a secular cantata he had composed for : the Shepherd Cantata, possibly his first collaboration with Picander. Probably Picander was also the librettist who provided the parody text for the 1725 Easter cantata. Easter Monday to the second Sunday after Easter There are three extant Bach cantatas premiered in the period from Easter Monday to the second Sunday after Easter 1725. A shared characteristic of these cantatas is their structure: they start with a passage from the bible (vox Christi in the last of these cantatas), followed by an Aria, then a chorale for one or two voices, Recitative, Aria, and a concluding four-part chorale. The librettist of these cantatas is unknown, but is likely the same for all three. The first Sunday after Easter, Quasimodogeniti, concludes the Octave of Easter, and the next Sunday is called Misericordias Domini: Easter Monday (Easter 2), : Bleib bei uns, denn