Wachet auf, ruft uns die Stimme (BWV 140), based on a hymn by Philipp Nicolai, was written for the 27th Sunday after Trinity, which only occurs in the liturgical year if Easter falls before March 27. During the time that Bach spent at Leipzig this Sunday fell on November 25, 1731 (for which the cantata was composed) and occurred again in 1742. The hymn’s three long stanzas and expansive melodic line, and also the concept of Jesus’ love, with the faithful soul as his bride, inspired Bach to an exceptionally grand design. The three stanzas constitute the beginning, middle and end, interspersed by two recitatives and two duets (called ”arias”) for which an anonymous librettist made extensive use of bible quotations, particularly from the Song of Songs. In the great opening chorus, accompanied by oboes and strings, the lines of text and the orchestral interludes are arranged, somewhat in the manner of a chorale prelude, into seven sections, corresponding to the seven movements of the whole cantata. The twelve knocks (dotted notes) in the first four bars, repeated several times, probably symbolise the midnight bell. The other choral parts and the motivic work in the orchestra have been evolved from the hymn tune. The recitative (No. 2) "Er komnrt, der Bräutgam kommt” is followed by a duet (No. 3) in which Jesus appears as the bridegroom of the soul, represented as one of the "wise virgins.” The violino piccolo, tuned a third higher, endows this duet with special brilliance. The accompanied recitative (No. 5) describes the bridegroom, Jesus, taking his bride unto hirnself. Unusual harmonies introduce the second duet in which heavenly and earthly love merge into one, Like No. 3 it is one of the most beautiful love duets ever written, almost ardent yet relaxed and dancelike, while No. 3 is yearning and mystical. Equidistant between the great opening chorus and the final chorale, where the violino piccolo imparts splendour to this ”sacred bridal song” (Philipp Nicolai’s title), there is a three-part chorale concerto (No. 4). The unison strings and the continuo bass play an instruntental piece into which the hymn stanza is interwoven line by line. Bach transposed this movement for the organ (BWV 645) and placed it at the beginning of the Schübler Chorales. The unity of the work is based on the way in which its form is conceived, and also on the fact that its most important motifs are derived from the hymn tune.
(Cantatas No. 141 [Das ist je gewißlich wahr] and No. 142 [Uns ist ein Kind geboren] are not included, since contemporary research has proved them not to be by Bach; Cantata No. 141 was written by Telemann, and the composer of Cantata No. 142 has not yet been accertained.)
The occasion and date of composition and whether it was performed during Bach's lifetirne of Lobe den Horrn, meine Seele (BWV 143) are still not at all clear. The claim by Spitta and Schering that it was performed on New Year's Day 1735 is contradicted by evidence that the fourth cantata of the Christmas Oratorio was sung on that occasion. In its conciseness the cantata is related stylistically to the motet (Nos. 1 and 7), to the older aria (Nos. 4 and 5) and to the sacred concerto (Nos. 2 and 4). A striking feature are the three horns, to which he added timpani in the fifth movement. Judging by the style this work probably falls between Cantata No. 71, the Cantata written for the occasion of the election of a new town council in Mühlhausen (1708) and the change in the style of his cantatas in 1714; since it is scored for horns, the date of composition is probably close to that of the Hunting Cantata, BWV 208 (1713). On all other occasions Bach syrnbolised the reign of Jesus the King by three trumpet parts and timpani, trumpets being the privilege of rulers. The continue writing and this early use of horns are strong arguments in favour of Bach's authorship.
Nimm, was dein ist, und gehe hin (BWV 144), which was written for February 6, is introverted in character. The opening chorus is a strict fugue in which the subject is sung in large note values to the words of the title (”Nimm, was dein ist, und gehe hin”), the last words (”gehe hin”) being treated as a sequential counterpoint and further elaborated. In the alto aria "Murre nicht, lieber Christ”(Grumble not, fretting soul) the complaints are depicted by the use of the low register, thereby disregarding the negation implicit in the text. This is maintained throughout the contrapuntal variations of the aria: ”Murre nicht” is always set in low notes, ”lieber Christ” in high notes. After a simple chorale verse ”Was Gott tut, das ist wohlgetan” and a preparatory recitative, the great soprano aria with oboe d’amore and continuo ”Genügsamkeit ist ein Schatz in diesem Leben", full of expansive gestures and coloratura, provides the opportunity for Bach to give free reign to his certain faith. The seeming contradiction is cancelled out by the music; although the scoring is "moderate," there is ample scope for development. In place of the customary da cape there  is a freely varied repetition, variations providing a richer style than a mere mechanical reprise.
Ich lebe, mein Herze, zu deinem Ergötzen (BWV 145) is, like Cantata No. 143, only preserved in a copy dating from the nineteenth century, which also contains an opening chorus by Telemann and a chorale that is probably by Bach himself; the purpose of these movements is not known. The texts of movements one to five appeared in Picander’s annual cycle of cantatas for 1728/29, which makes it appear that the work could have been composed for Easter Tuesday 1729 (April 19). The opening dialogue between the risen Christ and Man symbolises the feast with its triumphant melody, Jesus the Son of Man being recognised in the solo violin, in the following secco recitative the concluding arioso introduces a bass aria of triumph and confidence depicted by an orchestra consisting of a trumpet, oboes playing with the violins, and continuo. The virtuoso style and rich sonority of this aria exceed the victorious character of the opening duet. The choir has the last word with the simple final chorale.
Wir müssen durch viel Trübsal in das Reich Gottes eingehen (BWV 146), for the Third Sunday after Easter, was probably written for May 12, 1726. The first movement of the Harpsichord Concerto in D minor, BWV 1052, here with the organ as solo instrument- Bach’s son Wilhelm Friedemann was one possible soloist- is an unusually long Sinfonia. The orchestra used in the concerto is reinforced for the cantata with woodwind, and the solo part is set an octave lower than the harpsichord part on account of the range. For the chorus ”Wir müssen durch viel Trübsal,” the second movement of the concerto (from the solo entry onwards) with the solo organ forms the instrumental framework, into which Bach composed a new choral movement, making partial use of the concerto movement. The joy-sadness antithesis, the Christian's yearning for death and union with God permeates the entire work, both textually and musically. The alto aria "Ich will nach dem Himmel zu" turns its bakr on wicked Sodom" in an expression of mystical rapture, and the soprano recitative with string accompaniment that follows also recants the ”wicked world” and interprets the words ”heayen" and "weep" with arioso figures. The soprano aria with flute, two oboes d’amore and continuo is a beautiful example of Bach's gift for representing the idea of the text in music by means of minor thematic and figural changes. The figure of scattering (sowing) is ’reinterpreted' as glory, that of tears becomes sorrow. Thus "Ich säe rneine Zähren mit bangem Herzen” (I saw the tears of sorrow with ever anxious fear) is contrasted with ”Jedoch mein Herzeleid wird rnir die Herrlichkert der seligen Ernte gebären” (But yet my heart’s despair will turn to glory. There when Harvest Day dawns for us all on the morrow) as a link related in the sense of the cantata. A short tenor recitative is followed by the duet "Wie will ich mich freuen,” which seems almost secular; with its animated dance movement. Cantata No. 146, which is only preserved in later copies, lacks the text of the final chorale. The verse ”Denn wer selig dahin fähret” chosen for this is one of those suggested by researchers from contemporary hymns to the melody "Werde rnunter, mein Gemüte.”