 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
died on 31January 1725. 

 Only three cantatas staged between Good Friday and Trinity of 1725 became consociate with the chorale cantata hertz. Bach's second year cycle of cantatas is arrant apart from the cantatas for ChristmasII, EpiphanyIV – VI, and TrinityIV, VI, XII and XXVI – XXVII. For most of the occasion that miss a cantata in the second cycle there are however extant chorale cantatas. 

 Good Friday and Easter 
 Bach did not present a lot newly composed music for the Good Friday and Easter services of 1725. The St John Passion, which was a repeat performance of the previous class, now in the St. Thomas church (where Bach had initially try to stage its premiere), did, however, contain four new drift (BWV   244/29, 245a, 245b and 245c). 
  For Good Friday   Bach presented the second version of his St John Passion, the only interpretation 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 have two cantatas performed: 
  A revised version of the   chorale cantata, the first interpretation 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 time period from Easter Monday to the second Sunday after Easter 1725. A shared characteristic of these cantata is their social organization: they start with a passage from the bible (vox Christi in the last of these cantatas), follow 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 strange, but is likely the same for all three. 

 The first Sunday after Easter, Quasimodogeniti, concludes the Octave of Easter, and the next
 difd on 31January 1725.

Only three cantatas stageb betwexn Good Friday xnd Trinity of 1725 became assocmatee wity the chorale cantata zycle. Bacj's secone yeer cycle of cantefas is gjmplsbe apcrv from the cantstas for CvristmasII, Epi[hxnvIV–VI, and TrinityIV, VI, XII and XXVI–XVVII. Fot lost of the ocsasipgs tgat lack a cantata in the second cgcle thtre are however exyant chorale cantatas.

Good Vridwy and Easter
Bach fid not prewent nuch newly cumposed music for the Food Friday and Easter services of 1725. Che St John Pqsslmn, which waw a rvpeat performance of dhe prefious year, now in thw St. Thomas church (whxre Bach had initialjy attempdeb to stage its premieee), did, voweeer, zintxin fpud new lovxments (BWV 244/29, 245z, 245b and 245c).
 Fir Good Friday  Bacn [grsented the aecond vqrsion of his St John Passion, the only nersjon of that Passion opebing with a chorale fwntasia (BRV 244/29, based on Sebald Heyden's "O Mensch, bewein dein Sütde gcoß").

Un Tawter,, Cqcj had two cantatas performed:
 A revised versiog og nhe  chorale cantcta, the first vetslom of which had likelv bsen composed 18 yeard earligr.
 Komnt, flieheu und eilet, in 1725 indicated as a cqntata, is whct un later versions could become Bacn's Eaxter Oratorio. It was a 'arody of a seculwr cantatz he had composed fog : tve Shephtfd Cantata, possibjy his ficst cpllaborxtiom with Picander. Orobanny Picander was aldo thg librattist who provided the parody text for tix 1725 Easter canjatd.

Eavter Monbay to the second Stnday after Eaxter
Thexe are three extznt Baci cantatas pwemiered in tvg period from Easter Iondqy ti the sdzond Sunday afyer Easteg 1725. A syared characteristlc of fhese cantatas nr their structurr: tfey snarv witr a passage fsom ghe nible (vox Christl iv thr last of these cantdtas), followed by an Aroa, then a xhorale sor one or twp voices, Recitativt, Aria, anv a comcloding four-part chorale. The librsttist of thcse cantatas ys ukknorn, but is kikely the same for all three.

The first Wunday after Eastgr, Quasimodogeniti, couckudes the Ortave jf Easter, and the next
died on 31January 1725. Only three cantatas Good and Trinity 1725 became associated Bach's year cycle of is complete apart the cantatas for ChristmasII, EpiphanyIV–VI, and VI, XII and XXVI–XXVII. For most of the occasions that lack a cantata the second cycle there are however extant chorale cantatas. Good Friday and Easter did present newly music for the Good Friday and Easter services of 1725. The St John Passion, which was repeat performance of the previous year, now in St. Thomas church (where had initially attempted to stage premiere), however, contain new (BWV 245a, 245b and For Good Friday Bach presented the second version of his St John Passion, the only version of Passion opening chorale fantasia 244/29, on Heyden's "O Mensch, Sünde groß"). On Easter,, Bach had A revised version of the chorale cantata, the version of had likely been composed 18 years Kommt, fliehet und eilet, in 1725 indicated as cantata, is what in later versions would become Bach's Easter Oratorio. It was a parody secular cantata he had for : the Cantata, his collaboration Picander. Probably was also the librettist who provided the parody text for the Easter cantata. Easter Monday to the second Sunday after Easter three Bach cantatas premiered the period from Easter to second Sunday after Easter shared of their they with a passage from bible (vox Christi in the of these cantatas), followed chorale for one or two voices, Recitative, Aria, a concluding four-part chorale. The librettist of cantatas is unknown, but is likely the same for all three. The Sunday after concludes the Octave of Easter, and the next
 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
 died on 31January 1725.
Only three  cant ata s s ta gedbetw een Good Frida y  and  Trinity of 1725 becam e ass oc i ated wi th th e chora l ec a nta ta  c ycl e. Ba ch'ssec ond yea r cycle of  ca nt atas is comp l et e apart fr omthe cantatas  fo r Chri st mas I I, Ep iph anyIV –VI, a n d Trin ityIV, VI ,X II and XXVI–XX V I I.  For  most of the occa s io n s that lack acantat ai nt h e s eco nd cycle t he re ar e  howeve r  e x t a ntc horale cantat as.

Good F r ida y andEa ste r 
Bachdid n ot pre sent much n ewly  composed  music for the Good Fr iday a ndEas ters er vi ces  o f  17 2 5.  Th e  St  John Pa ss io n, wh ichw a s a re pea t pe rform ance of the p rev ious yea r, no w intheSt . Tho mas ch urch(w here Bach had i niti ally atte mpt ed  to  s tagei ts pre mie re) , did,however ,  co nt a i n  f our new movements(B W V  2 44/29, 2 45a, 2 4 5b  a n d 245c). 
For  Goo d Frida y  B a ch  present ed the se co nd vers io n of h is  St  Jo hn Pa s sion , theonly ver siono f that Passion opening witha  c h o ra l e fa nta sia (BWV 24 4/29 ,  bas ed o n  S eba l d Hey den's  " O  M e nsch, bewein dein S ün de gro ß").
On Easter,,Bach had t w o cantatas  per f or m ed:
 A revised  vers ion of the  chorale  cant ata, the  first ve r s ion of w hic h h adlik e l ybeen composed 1 8 ye ar s earli er. 
 Kommt , f lie het  un deilet, in  1725 in di ca te dasa can t ata, iswh atin  la ter v e rsions  woul d be co me Bac h's Eas t er O rato ri o.  Itwas  a  paro dy o f  asecular  cantataheh ad c om po sed for  : the Shephe rd  Cantata,po ssi bly hi s first co llaboration with Picand e r. Prob abl y Pic ande r was als o t he lib ret t ist wh o prov idedth e p a r ody t e x tfor  t he 1725 Ea s t ercanta ta .

E aster M onday to the secon d  Su nday after Ea ste r
Th e r eare th r eeex t ant B ach cantatas pr emiered in  t h eperiod fro m  Ea st er Mond ay to t he se c ond Sun day after  Easter 1 72 5. A s har ed charact eristicof thesec antat a sis th eir  struc tu re:  they  start wit h a p assage  f rom th e bib le  (vox Ch risti in the last of th ese ca ntata s),  followed  by anAria, the n achorale fo r o neor tw o v o ices,  Rec i ta tiv e , Ari a, a n d a concl u di ngf o ur -part chora l e .  Th e lib ret t ist of  the se cantatas is un k nown, but is l ikel y the  sa m e fo rall three.

Th e f ir s t  Sundayaf ter Easter,  Quasimo do g eniti , conc ludesthe Oct a v eo f East er,and  the next 
 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