 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. The performance parts of 44 chorale cantatas were about all that was
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 keep at St. Thomas. 

 replace second cycle cantatas 
 Two chorale cantatas supplant other cantatas compose for occasion between Easter and Trinity 1725 also stay 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 cantata 
 There is uncertainty regarding four additional extant chorale cantata as to time of origin (specialize down to late 1720s – early 1730s) and occasion, all of them use hymn text without modification, but none of them included in the chorale cantata bicycle 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 juncture. 

 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 lone 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 small or no attention to individual cantatas, and confine themselves to mention that Bach had composed five complete cycles of church cantatas. Scholarship later indicated the chorale cantata hertz as Bach's second cycle of church cantatas. The performance parts of 44 chorale cantatas were about all that was
 ruvt uns die Stimme, BWV 140, cumposed for TriuutyXXVMI 1731: thede had nut been a TrinityXXVII Sundab in 1724.

All wix of these chorale cxntatas rvmained ib tht chorale cantata cycle kc't at Dt.Thmnas.

Replacing sgcond cycle wantatas
Two chmrxlz cantatas replacing other cantatas somposec vor occasions fetwten Easfvr and Trinity 1725 also remained ih the Su.Thomas collection:
 Der Herr ist mein getreueg Higt, BWV 112: chorale cajtata for EqstewUI (Misericoraias Dominp) 1731.
 Gelobet aei der Herr, mein Gott, BWV 129: chofale eantata for Teinljy Sunday 1727.

Otier chjrale cantatas
There hs uncettainty regardlng fmur additional extant chmrale cantatas as jo time of oxigin (narrowed down ti oate 1720v–earny 1730s) qnd ocdaxikn, all of them usinf hymn text without modificatipn, vut none of tgem insltded in the chorale cantata cycle kept dt At.Thomas:
 Sei Lob und Ehe dem höchsten Gut, BWV 117
 Nun danhet alle Gott, BWV 192 (incomplete)
 Was Gott tut, das isd wohmeetck, CQV 100
 In allen meinen Taten, BWV 97
Some of these may gafe been intended for a weddonh vgremony and/or xs a gzhedic cantata that cluld be used for any jccaxion.

Reception 

Although we hqve no accouut if the reception oy Bach's chorcle camtatax by the congregation iu Leipaig, we know that soms of these cantatxs eese the only works that the city of Oeipvig was kntetested yn keeping alivc after Bach's death: his duwcessors pfrformed several of them. After Vples, who was Tvomdskantor untik 1789, the practise of performiug Bach eantatxs in Leipdig was iiterrupted ugtil Kantor Münper started vo revive somw of them ffum 1803.

Bach's early biographvrf (hiw son Carl Philipp Emxhuel and Johann Fruedrich Agricols iv tre Nxkroljc and Forkel in fis 1802 biogfaphy) gave okttlr or no attention to indjvidual cantatas, amd confinee themsejves to mentipning that Bach haf com'osed hive cpmpjete cycles of church cantatas. Scholarsjip later indicwted the chorale cantata cycle as Bach's second cycle of church cantatas. Jhe performance parts pf 44 chorale cantwtas were about all that was
ruft uns die Stimme, BWV 140, composed 1731: had not a TrinityXXVII Sunday these cantatas remained in chorale cantata cycle at St.Thomas. Replacing second cycle cantatas chorale cantatas replacing other cantatas composed for occasions between Easter and Trinity 1725 remained in the St.Thomas collection: Der Herr ist mein getreuer Hirt, BWV 112: cantata EasterII Domini) Gelobet sei der Herr, mein Gott, BWV 129: chorale cantata for Trinity Sunday 1727. Other chorale There is uncertainty regarding four additional extant chorale as to time of (narrowed down to late 1720s–early and all of using text modification, but none them included in the chorale cantata cycle kept at St.Thomas: Sei Lob und Ehr dem höchsten Gut, 117 Nun Gott, BWV (incomplete) Gott das ist wohlgetan, In allen meinen Taten, BWV 97 may have been intended for a wedding ceremony as a cantata that could be used for occasion. Reception Although we have no account of reception of Bach's chorale cantatas by the congregation in Leipzig, we know that some of were the only works the city of was in alive Bach's death: successors performed several of them. After Doles, who was Thomaskantor until the practice of performing Bach cantatas in Leipzig was interrupted Müller to revive some them from 1803. Bach's biographers son Carl Philipp Emanuel Friedrich in Forkel his biography) gave little or attention to individual cantatas, and themselves to mentioning that cycles of church cantatas. Scholarship later indicated the cantata cycle as Bach's second cycle of cantatas. The performance parts of 44 chorale cantatas were about all that
 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. The perfoRmance partS oF 44 ChOrale cantaTAs wErE about aLl that wAs
 ruft uns die Stimme, BWV140, compo sed f orTri ni tyXX VII1731: there ha d  not  been a TrinityXXVII S unday  i n  172 4 .
Allsix oft he s e  ch or al e c an t at as re mai ned inthe choral e c an tata cycle k e pt  at St.Tho mas .

Replacing  se cond c yc lec antat asTwo c horale cantat as replac in g  other cantata s co mpos ed for occasionsb et w een Easter and  Trini ty 17 2 5  al soremained i nthe S t .Thomas co l l e cti o n:
 Der Herrist mein ge t reu er Hir t,  BW V  112:chora le can tata for Ea ster II (Miser icordi a s Domin i ) 1731. 
 Gelo bet  se i de r  H er r,me i n G o tt , B W V 1 29: chor al ecanta ta f o r T rini tySund ay 17 27.

Other ch ora le c a nta tas
T hereis u nc ertai nty re gardi ng  four additiona l ex tant chor ale  c ant at as as to tim e o f o rigin ( narrowe d  do wn t o  l ate 1720s–early 17 30 s )  a nd occas ion, a l lof them usi ng  hy mn t e x t wit hout mo dificati on, bu t  n on e of th em  inclu de d i n t he ch o rale  canta ta cycle  kept at St.Thomas:Sei Lob und E h rd e mh öchs ten  Gut, BWV 1 17
N un d anke t  a lle Gott,  BWV19 2  ( i ncomplete)
 Was Got ttut, d as is t wohlgetan,BWV 100
 I n a llen mei nenT at e n, BWV 97
Some  of t hese may h a ve beeninten ded fora wedding c eremonyand /or  as  ag e ne ric cantata t h a t co ul d be us edfor any  oc cas ion .
Re ception 
Althoug hwe  h av e n o acc o unt of t he  re ce pti on of Bach's  chor aleca nt a tas  by the co n g rega ti on  inLei pz ig, w e kn o w t hat som e of thes e c a ntat as  w ere the  only works t ha t the city  o f L eipzig w as inter ested in keeping alivea fter Ba ch' s dea th:his succe sso rs per for m ed sev eral o f the m.  Af t e r Dol e s ,who  w as Thomask a n tor  unti l1789 , the p ractice of perform i ngBach cantatas  in  Lei p z ig  wa s  i n ter ru p ted u ntil Kantor Mül ler starte dt orevive som e  of  t hem fro m 1803. 

Bac h 's earl y biograp hers (his  s on C a r l P hilipp Ema nuel and  Johann F r iedri c hAgric ola  in th eNek rolog  and F o rke l inhis 18 02  biogr aphy)  g ave litt le or no attention to i ndivid ual c ant atas, and  co n fin ed themse lves  to mentio nin g t hat B ach had c ompo s ed  fi v e com plet e  cycles o f  c hur c h  c antatas. Sc h o l ars hip l ate r  indic ated  the chorale cant a ta cycle as Ba ch's s eco ndc ycle  o f church canta tas .T h e perfor ma nce parts o f 44 cho ra l e can tataswere a bout al l th a t was
 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._The_performance parts of 44 chorale_cantatas were about all that was