 of, and the earliest version of ; it is, however, uncertain whether these versions were first presented in Bach's second year in Leipzig. Bach composed a further 13 cantatas in his second year at Leipzig, none of them chorale cantatas, although two of them became associated with the chorale cantata cycle. After his second year in Leipzig, he composed at least eight further cantatas for inclusion in his chorale cantata cycle.

Around the start of the Bach Revival in the 19th century, almost no manuscripts of Bach's music remained in St. Thomas in Leipzig, apart from an incomplete chorale cantata cycle. In Leipzig the chorale cantatas were, after the motets, the second most often performed compositions of Bach between the composer's death and the Bach Revival. Philipp Spitta, in his 19th-century biography of the composer, praised the chorale cantatas, but failed to see them as a cycle tied to 1724–25. It took about a century after Spitta before Bach's cantata cycles were analysed in scholarly literature, but then Bach's ambitious project to write a chorale cantata for each occasion of the liturgical year was characterized as "the largest musical project that the composer ever undertook".

Development of the second cantata cycle and the chorale cantata cycle
Possibly the idea for writing a series of chorale cantatas was inspired by the bicentennial anniversary of the first publications of Lutheran hymnals (1524). The first of these early hymnals is the Achtliederbuch, containing eight hymns and five melodies. Four chorale cantatas use text and/or melody of a hymn in that early publication (BWV 2, 9, 38 and 117). Another 1524 hymnal is the Erfurt Enchiridion: BWV 62, 91, 96, 114, 121 and 178 are based on hymns from that publication. BWV 14, and 125 were based on hymns from Eyn geystlich Gesangk Buchleyn, also published in 1524.

Apart from some cantatas composed after Palm Sunday 1725, the chorale cantata cycle and the second cantata cycle overlap, and the two designations are often used interchangeably in scholarly literature. Otherwise the cycle is described as breaking off after Palm Sunday or Easter 1725. There are some cantatas that belong to one of both cycles, but not to the other, for
of, and the earliest version of; it is, however, uncertain whether these versions were foremost confront in Bach's second year in Leipzig. Bach composed a further 13 cantata in his second year at Leipzig, none of them chorale cantata, although two of them became associated with the chorale cantata cycle. After his second class in Leipzig, he composed at least eight further cantatas for inclusion in his chorale cantata hertz. 

 Around the start of the Bach Revival in the 19th hundred, almost no manuscripts of Bach's music remained in St. Thomas in Leipzig, apart from an incomplete chorale cantata hertz. In Leipzig the chorale cantatas were, after the motets, the second most often performed composition of Bach between the composer's death and the Bach Revival. Philipp Spitta, in his 19th - century biography of the composer, praise the chorale cantatas, but failed to interpret them as a cycle tie to 1724–25. It took about a century after Spitta before Bach's cantata cycles were analysed in scholarly literature, but then Bach's ambitious undertaking to write a chorale cantata for each occasion of the liturgical year was characterized as " the largest musical undertaking that the composer always undertake ". 

 Development of the second cantata cycle and the chorale cantata cycle 
 Possibly the idea for writing a series of chorale cantatas was revolutionize by the bicentennial anniversary of the inaugural publications of Lutheran hymnals (1524). The first of these early hymnal is the Achtliederbuch, control eight hymns and five melodies. Four chorale cantatas use text and/or melody of a hymn in that early publication (BWV 2, 9, 38 and 117). Another 1524 hymnal is the Erfurt Enchiridion: BWV 62, 91, 96, 114, 121 and 178 are free-base on hymns from that publication. BWV 14, and 125 were based on hymns from Eyn geystlich Gesangk Buchleyn, also published in 1524. 

 aside from some cantatas composed after Palm Sunday 1725, the chorale cantata cycle and the second cantata cycle overlap, and the two designations are often practice interchangeably in scholarly literature. Otherwise the cycle is described as breaking off after Palm Sunday or Easter 1725. There are some cantata that belong to one of both cycles, but not to the other, for
 of, and the earliest versiok of ; it is, howerwr, uncxrtain shether ghese versions were first prxsenred ib Bach's second year in Leipzig. Hach composev a further 13 canvztas in his ssgond veer at Leipzig, npne of thek chorale cantdtxs, although two of them became associwted wiyh the chorale cwntaua sycls. After his second year in Leipzig, he comkosed at least eignt further cantatas for influslon in his chorale cantata cyxle.

Awiund the staft of the Bach Revival in the 19th century, almost no mavuscrnpts of Bacy's mudhc remained in Sn. Thomas in Lcppzig, a[art frpm an incomplebe chmraoe cantata cycle. In Lxipzig the chorale cwntatas warz, after the motets, thw wecong movt owren pedfprjed colpoaitions of Bach betwewn the composer's destr and the Bach Revivwl. Philipp Spitta, in his 19th-century biograkhy or the composer, praised rhe chorale cantatas, hut faileq to see them as a cycle tied to 1724–25. It took about a centnrh aybcr Southa before Bach's cantata cycles were analysed yh xcmolarly literatuve, but then Bach's smhiyyous project jo writz a chorale cantata flr each occawion of tre loturgical year was characteeized as "the oargest musical prlject that che cokposet ever undertook".

Developoent of the seclnd cantafx cycle and the zhogale cantata cycle
Possibly the idea for wricing a sdriex of crorale canhatas was inspired by thf bicgntennhal annivegsary of the first publications of Lutheran himndls (1524). The fixst of these early rymnals is the Achtlizderbuzh, containpng eight hymns and sive melodies. Vour chorale cantataf usw tezt and/of melody of a humn in thcu early puvlication (BWV 2, 9, 38 akd 117). Avkther 1524 hymnal iw tye Erfurt Enchitidkon: BAV 62, 91, 96, 114, 121 and 178 are tasea ov hymnr from ukat oublocation. BWV 14, and 125 wese bzsed on hymns from Enn geystluch Gesaggk Buchleyn, slso published in 1524.

Wpart frum soke santatas composed after Palm Shnday 1725, thf cmorale cantatw cygle wnd the seeond cantata cycle overlap, and the two dxsignations are often osed interchangeably nn scholarly kiterwture. Otharwise the cycle is eescribed as brealing off after Palm Shnday mr Eadter 1725. There are some cantatas that belong to one of both cycles, but not ti the other, for
of, and the earliest version of ; however, whether these were first presented Leipzig. composed a further cantatas in his year at Leipzig, none of them cantatas, although two of them became associated with the chorale cantata cycle. After second year in Leipzig, he composed at least eight further cantatas for inclusion his cantata Around start of the Bach Revival in the 19th century, almost no manuscripts of Bach's music remained St. Thomas in Leipzig, apart from an incomplete cantata cycle. In Leipzig chorale cantatas were, after the the most often compositions Bach the composer's death the Bach Revival. Philipp Spitta, in his 19th-century biography of the composer, praised the chorale cantatas, but to see a cycle to It about a century before Bach's cantata cycles were analysed but then Bach's ambitious project to write a cantata for occasion of the liturgical year was as "the largest musical project that the composer undertook". Development of the second cantata cycle and the chorale cantata cycle Possibly the idea a series of chorale was inspired by bicentennial of first of Lutheran (1524). The first of these early hymnals is the Achtliederbuch, containing hymns and five melodies. Four chorale cantatas use text and/or a in that early (BWV 2, 9, 38 117). 1524 hymnal is the BWV 91, and are on hymns from that BWV 14, and 125 were on hymns from Eyn in 1524. Apart from some cantatas composed after Sunday 1725, the chorale cantata cycle and second cantata cycle overlap, and the two designations are often used interchangeably scholarly literature. cycle is described as breaking off after Palm or Easter 1725. There some cantatas that belong to one of both cycles, not the other,
 of, and the earliest version of ; It is, howeveR, unceRtaIn wHeTher ThesE versions were fIRst pResented in Bach's second yEar in leIPzig. bAcH compOsed a fuRThER 13 CanTaTaS in HiS SeCond yEar At LeipzIg, none of thEm cHoRale cantatas, ALtHough two of TheM became assocIatEd with ThE chORale cAntAta cyCle. AftER his seCond year iN LEIpzig, hE ComposeD AT lEast Eight further cantaTAs FOr inclusion in hIs chorAlE CaNTAta CycLe.

Around thE sTart oF The Bach rEvIVAL in THe 19th century, alMost no manusCRipTs of BaCh'S muSIc remaIned iN ST. thoMas in LeipziG, apaRt from an iNcomplETe choraLE cantatA cycle. in LEipZig tHE cHoRalE cANtaTAs WerE, AftEr the motEtS, tHe secOnd mOST OFten PerFormEd comPositions of BaCh bEtweEN thE compOser's DeatH aNd the bach ReVival. phIlipp Spitta, in hiS 19th-cEntury bioGraPhY of ThE compOSer, praIseD thE choralE cantatAS, buT fAILEd To see them as a cycle tIeD TO 1724–25. IT took aboUt a cenTUrY aFTer SpittA bEfoRe BaCH'S cantAta cYClEs were anAlysed IN sChOlarly lItEraturE, bUt tHen bach's AMbitIous prOject to wRite a CHorale cantata fOR each occasion OF tHE LiTUrgiCal Year was charActeRIzed As "thE LaRgeST musiCal prOjECt THat the composer ever uNdErtook".

develOpment of the seCond cantatA CYCle and thE choRAlE Cantata cycle
PoSsiblY the idea foR Writing a SerieS of choraLe cantataS WAs inspirEd bY thE biCenTENnIal anniversarY OF the FiRst publIcaTions of lutHerAn hYmnAlS (1524). The first Of these eArLy HyMnAls Is the aChtliedeRbUch, CoNtaIning EIght hyMns anD fivE mElODieS. Four chORaLE CantAtAs Use tExt AnD/or meLody OF a hYmn in thAt early puBliCAtioN (BwV 2, 9, 38 And 117). AnotHer 1524 hymnal is thE ERfurt EnchiRiDioN: BWV 62, 91, 96, 114, 121 anD 178 ARe based oN hymns from that publicatiON. BWV 14, and 125 WerE baseD on hYmns from EYn gEystliCh GESangk BUchleyN, also PuBliSHEd in 1524.

APARt FroM sOme cantataS COmpOsed aFtEr PaLm SundaY 1725, the chorale cantata CYclE and the second CanTata CYClE ovERlAP, anD tHE twO DEsignations are oFten used inTeRChAngeably in SChoLaRly liteRature. OTherwISe the cyCle is descRibed as brEaKing OFF afTer Palm SunDay or EasTer 1725. There aRE some CAnTatas ThaT belonG tO onE of boTh cyclES, buT not tO the otHeR, for
 of, and the earliest vers ion of ; i t is,  ho wev er , un cert ain whether th e se v ersions were first pre sente di n Ba c h' s sec ond yea r  i n Lei pz ig . B ac h  c ompos eda furth er 13 cant ata sin his secon d  y ear at Lei pzi g, none of t hem  chora le  ca n tatas , a lthou gh two of the m becameas s ociate d  with t h e  c hora le cantata cycle. Af t er his secondyear i nL ei p z ig,  he  composedat  leas t  eightf ur t h e r c a ntatas for in clusion inh ischoral ecan t ata cy cle.
A r oun d the start  ofthe BachReviva l  in the 19th ce ntury,  al mos t no ma nu scr ip t s o f  B ach ' s m usic rem ai ne d inSt.T h o m as i n L eipz ig, a part from aninc ompl e techora le ca ntat acycle . In L eipzi gthe chorale can tata s were, a fte rthe  m otets ,  the s eco ndmost of ten per f orm ed c o mp ositions of Bach b et w e en  the com poser' s  d ea t h and th eBac h Re v i val.Phil i pp  Spitta,  in hi s  1 9t h-centu ry  biogr ap hyofthe c o mpos er, pr aised th e cho r ale cantatas,b ut failed tos ee t he m  asa c ycle tied t o 17 2 4–25 . It to oka bouta cen tu r ya fter Spitta beforeBa ch's c antat a cycles were  analysedi n scholarl y li t er a ture, but then  Bach 's ambitio u s projec t towrite achorale c a n tata for  ea chocc asi o n  o f the liturgi c a l ye ar  was ch ara cterize d a s " the  la rg est music al proje ct  t ha tthe  comp o ser ever  u nde rt ook ".

D e velopm ent o f th ese c ond  cantat a  c y c le a nd  t he c hor al e can tata cyc le
Poss ibly theide a  for  w ri ting aseries of cho ra le cantata swas  inspi r e d by the  bicentennial anniversa r y of th e f irstpubl icationsofLuther anh ymnals  (1524 ). Th efir s t  of t h e se  ea rl y hymnalsi s  th e Ach tl iede rbuch,containing eight h y mns  and five mel odi es.F o ur  ch o ra l e c an t ata s use text and/or  melody of  a hy mn in that ear ly  public ation ( BWV 2 ,  9, 38and 117).  Another15 24 h y m nal  is the Er furt Enc hiridion: BWV 6 2 ,91, 9 6,114, 1 21  an d 178  are b a sed  on h ymns f ro m that  publ ic ation. B WV 14, and 125 were bas ed onhymns  fr om Eyn ge yst l ich  GesangkBuch leyn, also  pu bli shedin1 524.
Apa r tfro m  some  can t atas comp o se d a f t er  Palm Sunda y 1 725 , the  ch o rale c anta ta cycle and thes econd cantatacycl e ove rla p , an dthe two design ati on s are ofte nused interc hangeabl yi n sch olarly  liter ature.O t he r wise t he c ycl e is desc rib ed as brea ki ng off af terPa lm Sun day or East e r  1725. There are  some c antat a s t hat b el ong too ne o f both cyc les, but no t to t he o ther,  for
 of,_and the_earliest version of ;_it is,_however,_uncertain whether_these_versions were first_presented in Bach's_second year in Leipzig._Bach composed a_further_13 cantatas in his second year at Leipzig, none of them chorale cantatas, although_two_of them_became_associated_with the chorale cantata cycle._After his second year in_Leipzig, he_composed at least eight further cantatas for inclusion_in_his chorale cantata_cycle.

Around the start of the Bach Revival in the_19th century, almost no manuscripts of_Bach's music remained_in_St._Thomas in Leipzig, apart_from an incomplete chorale cantata cycle._In Leipzig the chorale cantatas were,_after the motets, the second most often_performed compositions of Bach between the_composer's death and the Bach_Revival. Philipp_Spitta, in his 19th-century biography_of the composer,_praised the_chorale cantatas, but_failed to see them as a_cycle tied to_1724–25. It took about a century_after_Spitta before Bach's_cantata_cycles_were analysed_in scholarly literature,_but_then Bach's_ambitious_project to write a chorale cantata_for_each occasion of the liturgical year was_characterized as "the largest_musical_project that the composer_ever undertook".

Development of the second_cantata cycle and the chorale cantata_cycle
Possibly the_idea for_writing a series of chorale cantatas was inspired by the bicentennial_anniversary of the first publications of_Lutheran hymnals (1524). The_first of_these_early hymnals is_the_Achtliederbuch, containing_eight hymns and five melodies. Four chorale_cantatas use_text and/or melody of a hymn_in that early publication_(BWV_2, 9, 38 and 117). Another_1524 hymnal is the Erfurt Enchiridion:_BWV 62, 91, 96, 114,_121_and_178 are based on hymns_from that publication. BWV 14, and_125 were based_on hymns from Eyn geystlich Gesangk Buchleyn,_also_published in 1524.

Apart from some cantatas_composed_after Palm Sunday 1725, the chorale_cantata_cycle_and the second cantata cycle_overlap, and the two designations are_often used interchangeably in scholarly literature. Otherwise the cycle_is described as_breaking off after Palm Sunday_or_Easter_1725. There are some cantatas that belong to one of_both cycles,_but not to_the other, for