usually published. Ich ruf zu dir, Herr Jesu Christ, BWV 177, composed for TrinityIV 1732 (in 1724 TrinityIV had coincided with Visitation) Es ist das Heil uns kommen her, BWV 9, an Achtliederbuch chorale cantata, composed for Trinity VI 1732. There is no extant cantata composed for TrinityVI 1724. Lobe den Herren, den mächtigen König der Ehren, BWV 137, a per omnes versus chorale cantata, composed for TrinityXII 1725. There is no extant cantata composed for TrinityXII 1724. Wachet auf, ruft uns die Stimme, BWV 140, composed for TrinityXXVII 1731: there had not been a TrinityXXVII Sunday in 1724. All six of these chorale cantatas remained in the chorale cantata cycle kept at St.Thomas. Replacing second cycle cantatas Two chorale cantatas replacing other cantatas composed for occasions between Easter and Trinity 1725 also remained in the St.Thomas collection: Der Herr ist mein getreuer Hirt, BWV 112: chorale cantata for EasterII (Misericordias Domini) 1731. Gelobet sei der Herr, mein Gott, BWV 129: chorale cantata for Trinity Sunday 1727. Other chorale cantatas There is uncertainty regarding four additional extant chorale cantatas as to time of origin (narrowed down to late 1720s–early 1730s) and occasion, all of them using hymn text without modification, but none of them included in the chorale cantata cycle kept at St.Thomas: Sei Lob und Ehr dem höchsten Gut, BWV 117 Nun danket alle Gott, BWV 192 (incomplete) Was Gott tut, das ist wohlgetan, BWV 100 In allen meinen Taten, BWV 97 Some of these may have been intended for a wedding ceremony and/or as a generic cantata that could be used for any occasion. Reception Although we have no account of the reception of Bach's chorale cantatas by the congregation in Leipzig, we know that some of these cantatas were the only works that the city of Leipzig was interested in keeping alive after Bach's death: his successors performed several of them. After Doles, who was Thomaskantor until 1789, the practice of performing Bach cantatas in Leipzig was interrupted until Kantor Müller started to revive some of them from 1803. Bach's early biographers (his son Carl Philipp Emanuel and Johann Friedrich Agricola in the Nekrolog and Forkel in his 1802 biography) gave little or no attention to individual cantatas, and confined themselves to mentioning that Bach had composed five complete cycles of church cantatas. Scholarship later indicated the chorale cantata cycle as Bach's second cycle of church cantatas.