# Dietel manuscript

The Dietel manuscript, D-LEb Peters [de] Ms. R 18, also known as the Dietel Collection and, in German, Choralsammlung Dietel, is the oldest extant manuscript with a large collection of four-part chorales by Johann Sebastian Bach. It contains 149 of Bach's chorale harmonisations (not 150 as is written on its title page) and originated around 1735. The music in the manuscript was copied by Johann Ludwig Dietel [scores], one of Bach's pupils from the Thomasschule.

## Context

In 1727, at age 13, Johann Ludwig Dietel became a pupil of the St Thomas School in Leipzig. His oldest extant work as copyist of Johann Sebastian Bach's music dates from two years later (performance parts of BWV 120.2 and 174). By then, mid 1729, Bach had just begun his seventh year as cantor at St Thomas, and had already composed hundreds of church cantatas, the St John and St Matthew Passions, and several motets: all of these are sacred compositions mostly containing one or more four-part harmonisations of Lutheran chorale melodies, setting the text of usually one, and sometimes two, stanzas of a Lutheran hymn, to be sung by a SATB choir. Apart from these four-part chorales which are movements in larger-scale compositions, Bach also wrote such SATB settings of hymn tunes down in, for instance, the Notebook for Anna Magdalena Bach (begun 1725), and the Three Wedding Chorales manuscript (1730s). In Bach's autographs, four-part chorale harmonisations are characteristically written down with a colla parte instrumentation and figured bass accompaniment, sometimes also with interludes connecting the phrases of the hymn or independent instrumental figuration, and more exceptionally, for instance the setting of "Dir, dir, Jehova, will ich singen", BWV 299, a chorale in Anna Magdalena's notebook as a piece exclusively for four singing voices.
In the autumn of 1729 Dietel worked on the performance parts of BWV 201, one of Bach's secular cantatas. His work on the performance material of Johann Bernhard Bach's overtures in D major (BNB I/B/4) and G major (BNB I/B/6) is from slightly later. In August 1730 Johann Sebastian ranged Dietel among those singers of the school who were fit to perform the solo parts of his church music. On New Year's Day 1731, or, less likely, a year earlier, Carl Gotthelf Gerlach performed Gehet zu seinen Toren ein mit Danken, FWV D:G1 (=FR 9/2), a church cantata for New Year by Johann Friedrich Fasch. Dietel had copied the score for this performance. Both Dietel and Gerlach, who was nearly a decade older, were born in Calbitz [de]: this, and the fact that they were distant relatives, may explain how they became close in Leipzig. Gerlach had become a student of the St Thomas school in 1716, which he still was when Bach moved into the school buildings as cantor in 1723. From 1727 Gerlach studied at Leipzig University. In 1729 Georg Balthasar Schott [de], who until then had been the music director of Leipzig University's church, that is the New Church (German: Neukirche), and of the Collegium Musicum founded by Telemann, left for a position in Gotha: Bach, who as music director of Leipzig's principal churches had some say on the matter, manoeuvred his former pupil Gerlach in the position of music director and organist at the Neukirche, while he assumed himself the leadership of the Collegium Musicum.
In 1731 Dietel helped copy out the performance parts of two further church cantatas by Johann Sebastian Bach (BWV 112 and 29). Late 1731 or early 1732 Dietel copied the score of Bach's early church cantata BWV 196, followed, before 25 March 1732, by a copy of the score of the Gottes und Marien Kind cantata attributed to Fasch (FWV D:G3, FR 1400). From 1733 to 1734 Dietel copied performance material for three more secular cantatas by Bach (BWV 213, 214 and 215). Further manuscript copies by Dietel from around 1734:
* Organ and continuo performance parts of the Sanctus in B major, BWV Anh. 28.
* For a performance on Reformation Day 31 October 1734: score of Welt und Teufel tobt ihr noch, another cantata attributed to Fasch (FWV D:W2, FR 1401).
* A series of cantatas by Nicola Porpora, copied in collaboration with Gerlach, possibly for a performance by the latter as singer.
In 1734, or possibly 1735, Dietel copied the organ part of BWV 100, a chorale cantata by Bach. Bach presented his Christmas Oratorio, BWV 248, for the first time as a set of six cantatas, each of these performed on one of the six Feast Days and Sundays from 25 December 1734 to 6 January 1735. For two of these cantatas, those for New Year's Day (No. IV) and Epiphany (No. VI), Dietel was the main copyist of the performance material. On 30 January 1735 Bach premiered his cantata BWV 14. Likely some time after that, the closing chorale of BWV 14 being its most recent datable entry, Dietel started the manuscript named after him, which contains 149 four-part chorales copied from manuscripts with compositions by Bach. By that time Dietel belonged to the inner circle of Bach's pupils who had broad access to the composer's musical library.
Who asked Dietel to produce the chorale collection, and also, for what purpose it was penned, are questions for which the answer can not be ascertained. It would have been highly unlikely that Dietel took the initiative for the collection: copying music was generally not done without remuneration. The manuscript contained many errors and inaccuracies, none of which were corrected by Bach, something the composer would normally have done if he had commissioned this copy of his music. On the other hand, Dietel had produced many manuscripts for Gerlach, for instance the Fasch cantatas for performance at the Neukirche, and would continue to collaborate with him, for instance also in 1735 (or later) on performance material for Bach's Sanctus BWV 238. In 1736 Dietel started his studies at Leipzig University, and like that earlier main copyist of Bach's music, Johann Andreas Kuhnau [scores], had done a decade earlier, he continued to work for the music director of the Neukirche while discontinuing to work for Bach, after the switch from St Thomas school to University.

## Content

Dietel's manuscript, R 18, contains 149 SATB settings, without instrumental accompaniment or interludes, of chorale tunes. Two settings, Nos. 119 and 134, are identical, thus the collection contains 148 unique settings. A few settings are related, but not identical:
* Nos. 1 (variant of BWV 117/4) and 100 (BWV 117/4)
* Nos. 88 (BWV 8/6) and 148 (BWV deest – similar to BWV 8/6, but with a different harmonic progression)
All settings are by Bach and/or feature in larger-scale compositions by Bach. Two settings are strictly speaking not by Bach:
* No. 88 (BWV 8/6): Bach's adaptation of a SATB setting by Daniel Vetter, published in 1713.
* No. 107 (BWV 43/11): by Christoph Peter [de], for instance published in the 17th-century Neu Leipziger Gesangbuch, p. 70.
In general, Bach based his harmonisations on pre-existing hymn tunes. There are, however, some hymn tunes (or versions thereof) for which there appear to be no earlier extant sources than Bach's compositions. In the Dietel manuscript:
* Zahn No. 3068, in R 18 No. 6 ("Dir, dir, Jehova, will ich singen")
* Zahn No. 5878a, in R 18 No. 9 ("Ich bin ja, Herr, in deiner Macht")
* Tune of BWV 1122 (not in Zahn), R 18 No. 38 ("Denket doch, ihr Menschenkinder")
* Zahn No. 7417a, in R 18 No. 48 ("Gib dich zufrieden und sei stille")
* Zahn No. 6462, in R 18 Nos. 117 and 125: Bach's adaptation of the Zahn No. 6461 hymn tune ("Warum sollt ich mich denn grämen")
A couple of settings in the Dietel manuscript are SATB versions of voice and continuo settings found in Schemellis Gesangbuch (1736):
* BWV 452, the Schemelli version of "Dir, dir, Jehova, will ich singen", appears to have been derived from the four-part setting BWV 299 [2] as found in R 18 No. 6;
* The four-part version of "Auf, auf, mein Herz, mit Freuden" as found in the Dietel manuscript (No. 95) appears to be an arrangement of the Schemelli version (BWV 441)
Also the R 18 No. 148 version of "Liebster Gott, wenn werd ich sterben" appears to be related to the Schemelli variant BWV 483. R 18 No. 48 shares its soprano (S) and bass (B) lines with BWV 512 from Schemellis Gesangbuch.
Around two thirds of the settings in the Dietel manuscript can also be found in Bach's extant cantatas, motets, Passions and oratorios. Many of the chorale settings for which R 18 is the earliest extant source may derive from lost larger works, such as the St Mark Passion, BWV 247, of 1731, and several cantatas of the Picander cycle of 1728–29. However, not all four-part chorales of the Dietel collection originated in such larger works (e.g., BWV 299). Also, Bach re-used some chorale settings in several works (e.g., BWV 75/7 = BWV 100/6) so that it can't always exactly be determined from which original Dietel copied in his collection.
All chorales have a number (however with collation errors), and, except for No. 145, a title referring to a text of a Lutheran hymn, but are otherwise untexted. The titles in R 18 do not always refer to the hymns from which stanzas are extracted in musically corresponding movements of larger works. There is no over-all organisational principle for the collation, but some ranges appear to have some logic: for example, the range from Nos. 67 to 96 follows through the liturgical year, more or less consequentially, from the fourth Sunday after Trinity to the first Sunday of Advent.
Legend to the table :
| column | column | content | links to |
| 1 | # | Number of the chorale in the Dietel manuscript: modern numbering as used by Smend and NBE, followed by, if different, number in the manuscript in parentheses. | Page on the chorale at the www.bach-chorales.com website |
| 2 | Title (in Dietel manuscript) | Title of the chorale in the Dietel manuscript (for No. 145: conventional title in parentheses) | Page on the Dietel version of the chorale at IMSLP website |
| 3 | Zahn | Zahn number of the hymn tune used in the chorale harmonisation. | Description of the Lutheran chorale melody (if available), or further information on the Zahn number |
| 4 | BWV | BWV number | Bach Digital page on the Dietel version of the chorale |
| 5 | Occasion | Occasion of the liturgical year for which the chorale setting was (probably) written | Occasion as explained at Church cantata (Bach) or Passions (Bach) |
| 6 | Year | (Probable) year of first performance | — |
| 7 | M-D | (Probable) month and day of first performance | — |
| 8 | Other info | Additional info | Pages on larger vocal works, on chorales, etc. |
Four-part chorales in the Dietel manuscript :
| # | Title (in Dietel manuscript) | Zahn | BWV | Occasion | Year | M-D | Other info |
| 001 | Sei Lob und Ehr dem höchsten Gut | 4430 | 0117/4 0(var) | Birthday? | c. 1728– 1731 | | Variant of BWV 117/4 (Dietel No. 100) |
| 002 | Allein Gott in der Höh sei Ehr | 4457 | 0260 | Easter II? | ≤c. 1735 | Apr.– May? | |
| 003 | Ein feste Burg ist unser Gott | 7377 | 0303 | Oculi? | 1715? | 03-24? | Stanza 2 ("Mit unser Macht ist nichts getan") in BWV 80.1/6 |
| 004 | Du Friedefürst, Herr Jesu Christ | 4373 | 0067/7 | Easter I | 1724 | 04-16 | Stanza 1 in BWV 67/7 |
| 005 | Das alte Jahr vergangen ist | 0381 | 0288 | New Year | ≤c. 1735 | 01-01 | |
| 006 | Dir, dir, Jehova, will ich singen | 3068 | 0299 (2) | | ≤c. 1735 | | Hymn tune attributed to Bach |
| 007 | Jesu, nun sei gepreiset | 8477a | 0362 | New Year? | ≤c. 1735 | 01-01? | |
| 008 | Helft mir, Gotts Güte preisen | 5267 | 0028/6 | Christmas I | 1725 | 12-30 | Stanza 12 ("All solch dein Güt wir preisen") in BWV 28/6 |
| 009 | Ich bin ja, Herr, in deiner Macht | 5878a | 0345 | | ≤c. 1735 | | Hymn tune attributed to Bach |
| 010 | Ach Gott, vom Himmel sieh darein | 4431 | 0077/6 | Trinity XIII | 1723 | 08-22 | Presumably stanza 8 ("Du stellst, Herr Jesu, selber dich zum Vorbild deiner Liebe") from "Wenn einer alle Ding verstünd" in BWV 77/6 |
| 011 | Weg, mein Herz, mit den Gedenken | 6543 | 0025/6 | Trinity XIV | 1723 | 08-29 | Stanza 12 ("Ich will alle meine Tage") from "Treuer Gott, ich muss dir klagen" in BWV 25/6 |
| 012 | Jesu, meine Freude | 8032 | 0064/8 | Christmas 3 | 1723 | 12-27 | Stanza 5 ("Gute Nacht, o Wesen") in BWV 64/8 |
| 013 | Gelobet seist du, Jesu Christ | 1947 | 0064/2 | Christmas 3 | 1723 | 12-27 | Stanza 7 ("Das hat er alles uns getan") in BWV 64/2 |
| 014 0(13) | Was frag ich nach der Welt | 5206b–c | 0064/4 | Christmas 3 | 1723 | 12-27 | Stanza 1 in BWV 64/4 |
| 015 0(14) | O Herre Gott, dein göttlich Wort | 5690 | 0184.2/5 | Pentecost 3 | 1724 | 05-30 | Stanza 8 ("Herr, ich hoff je, du werdest die") in BWV 184.2/5 |
| 016 | Komm, Heiliger Geist, Herre Gott | 7445a | 0226/2 | Funeral | 1729 | 10-20 | Stanza 3 ("Du heilige Brunst, süßer Trost") in BWV 226/2 |
| 017 0(16) | Wachet auf, ruft uns die Stimme | 8405a | 0140/7 | Trinity XXVII | 1731 | 11-25 | Stanza 3 ("Gloria sei dir gesungen") in BWV 140/7 |
| 018 | Jesu, deine tiefen Wunden | 6543 | 0194.2/6 | Consecration | 1723 | 11-02 | Stanzas 6 ("Heilger Geist ins Himmels Throne") and 7 from "Treuer Gott, ich muß dir klagen" in BWV 194.2/6 = BWV 194.3/6 |
| 018 | Jesu, deine tiefen Wunden | 6543 | 0194.3/6 | Trinity | 1724 | 06-04 | Stanzas 6 ("Heilger Geist ins Himmels Throne") and 7 from "Treuer Gott, ich muß dir klagen" in BWV 194.2/6 = BWV 194.3/6 |
| 019 | Nun lasst uns Gott dem Herren | 0159 | 0194.2/12 | Consecration | 1723 | 11-02 | Stanzas 9 ("Sprich Ja zu meinen Taten") and 10 from "Wach auf, mein Herz, und singe" in BWV 194.2/12 = BWV 194.3/12 |
| 019 | Nun lasst uns Gott dem Herren | 0159 | 0194.3/12 | Trinity | 1724 | 06-04 | Stanzas 9 ("Sprich Ja zu meinen Taten") and 10 from "Wach auf, mein Herz, und singe" in BWV 194.2/12 = BWV 194.3/12 |
| 020 | Verleih uns Frieden gnädiglich | 1945a–b | 0042/7 | Easter I | 1725 | 04-08 | Stanzas 1 and 2 in BWV 42/7 |
| 021 | Jesu, meine Freude | 8032 | 0227/7 | | <1730? | | Stanza 4 ("Weg, weg mit allen Schätzen") in BWV 227/7 |
| 022 | Es ist gewisslich an der Zeit | 4429a | 0307 | | ≤c. 1735 | | |
| 023 | O Ewigkeit, du Donnerwort | 5820 | 0397 | Trinity X? | 1728? | 08-15? | Stanza 13 ("Wach auf, o Mensch, vom Sünderschlaf") is closing chorale of Picander cycle No. 53 |
| 023 | O Ewigkeit, du Donnerwort | 5820 | 0397 | Passion? | 1731? | 03-23? | Stanza 13 ("Wach auf, o Mensch, vom Sünderschlaf") in BWV 247/17 |
| 024 | Christ lag in Todes Banden | 7012a | 0158/4 | Easter 3 | c. 1725– 1735 | Mar.– Apr. | Stanza 5 ("Hier ist das rechte Osterlamm") in BWV 158/4 |
| 025 | Schmücke dich, o liebe Seele | 6923 | 0180/7 | Trinity XX | 1724 | 10-22 | Stanza 9 ("Jesu, wahres Brot des Lebens") in BWV 180/7 |
| 026 | Ach Gott, vom Himmel sieh darein | 4431 | 0002/6 | Trinity II | 1724 | 06-18 | Stanza 6 ("Das wollst du, Gott, bewahren rein") in BWV 2/6 |
| 027 | Straf mich nicht in deinem Zorn | 6274a | 0115/6 | Trinity XXII | 1724 | 11-05 | Stanza 10 ("Drum so laßt uns immerdar") from "Mache dich, mein Geist, bereit" in BWV 115/6 |
| 028 | Ach Gott, wie manches Herzeleid | 0533a | 0003/6 | Epiphany II | 1725 | 01-14 | Stanza 18 ("Erhalt mein Herz im Glauben rein") in BWV 3/6 |
| 029 | Jesu, der du meine Seele | 6804 | 0353 | | ≤c. 1735 | | |
| 030 | Wer weiß, wie nahe mir mein Ende | 2778 | 0084/5 | Septuagesima | 1727 | 02-09 | Stanza 12 ("Ich leb indes in dir vergnüget") in BWV 84/5 |
| 031 | Jesu, meine Freude | 8032 | 0227/1 0227/11 | | <1730? | | Stanza 1 and 6 ("Weicht, ihr Trauergeister") in BWV 227/1 and 227/11 |
| 032 | Jesu, meine Freude | 8032 | 0227/3 | | <1730? | | Stanza 2 ("Unter deinen Schirmen") in BWV 227/3 |
| 033 | Wie schön leuchtet der Morgenstern | 8359 | 0036.4/5 | Advent I | c. 1726– 1730 | Nov.– Dec. | Stanza 7 ("Wie bin ich doch so hertzlich fro") in BWV 36.4/5 |
| 034 | Befiehl du deine Wege | 5385a | 0161/6 | Trinity XVI | 1716 | 09-27 | Stanza 4 ("Der Leib zwar in der Erden") from "Herzlich tut mich verlangen" in BWV 161/6 |
| 035 | Ein feste Burg ist unser Gott | 7377 | 0080/8 | Reformation | c. 1729– 1731 | 10-31 | Stanza 4 ("Das Wort sie sollen lassen stahn") in BWV 80/8 |
| 036 | Nun bitten wir den Heiligen Geist | 2029a | 0169/7 | Trinity XVIII | 1726 | 10-20 | Stanza 3 ("Du süße Liebe, schenk uns deine Gunst") in BWV 169/7 |
| 037 | Herr Jesu Christ, du höchstes Gut | 4486 | 0048/3 | Trinity XIX | 1723 | 10-03 | Stanza 4 ("Solls ja so sein") in BWV 48/3 |
| 038 | Denket doch, ihr Menschenkinder | — | 1122 | | ≤c. 1735 | | Hymn tune attributed to Bach |
| 039 | Nun lob, mein Seel, den Herren | 8244 | 0389 | | ≤c. 1735 | | |
| 040 | Herr Jesu Christ, du höchstes Gut | 4486 | 0048/7 | Trinity XIX | 1723 | 10-03 | Stanza 12 ("Herr Jesu Christ, einiger Trost") from "Herr Jesu Christ, ich schrei zu dir" in BWV 48/7 |
| 041 | Vater unser im Himmelreich | 2561 | 0090/5 | Trinity XXV | 1723 | 11-14 | Stanza 7 ("Leit uns mit deiner rechten Hand") from "Nimm von uns, Herr, du treuer Gott" in BWV 90/5 |
| 042 | Jesu, meines Herzens Freud | 4797– 4798 | 0361 | | ≤c. 1735 | | |
| 043 | Was Gott tut, das ist wohlgetan | 5629 | 0144/3 | Septuagesima | 1724 | 02-06 | Stanza 1 in BWV 144/3 |
| 044 | Was mein Gott will, das gscheh allzeit | 7568 | 0144/6 | Septuagesima | 1724 | 02-06 | Stanza 1 in BWV 144/6 |
| 045 | Eins ist not, ach Herr, dies Eine | 7127 | 0304 | | ≤c. 1735 | | |
| 046 | Es ist genung | 7173 | 0060/5 | Trinity XXIV | 1723 | 11-07 | Stanza 5 ("Es ist genug, Herr") in BWV 60/5 |
| 047 | Wer weiß, wie nahe mir mein Ende | 2778 | 0434 | Trinity XV? | 1728? | 09-05? | Stanza 12 ("Ich leb indes in Gott vergnüget") is closing chorale of Picander cycle No. 58 |
| 047 | Wer weiß, wie nahe mir mein Ende | 2778 | 0434 | Epiphany II? | 1729? | 01-16? | Stanza 4 ("Er kennt die rechte Freudenstunden") from "Wer nur den lieben Gott läßt walten" is closing chorale of Picander cycle No. 13 |
| 047 | Wer weiß, wie nahe mir mein Ende | 2778 | 0434 | Septuagesima? | 1729? | 02-13? | Stanza 7 ("Sing, bet und geh auf Gottes Wegen") from "Wer nur den lieben Gott läßt walten" is closing chorale of Picander cycle No. 19 |
| 048 | Gib dich zufrieden und sei stille | 7417a | 0315 | | ≤c. 1735 | | Hymn tune attributed to Bach; S and B identical to those of BWV 512 |
| 049 | Ich dank dir, lieber Herre | 5354a–b | 0348 | Sexagesima? | 1729? | 02-20? | Stanza 6 ("Dein Wort laß mich bekennen") is closing chorale of Picander cycle No. 20 |
| 050 | Wo Gott zum Haus gibt nicht sein Gunst | 0305 | 1123 | | ≤c. 1735 | | |
| 051 | Mit Fried und Freud ich fahr dahin | 3986 | 0382 | Purification? | 1729? | 02-02? | Stanza 1 is closing chorale of Picander cycle No. 16 |
| 052 | Jesu Leiden, Pein und Tod | 6288a–b | 0159/5 | Estomihi | 1729 | 02-27 | Stanza 33 ("Jesu, deine Passion ist mir lauter Freude") in BWV 159/5 |
| 053 | Herzlich lieb hab ich dich, o Herr | 8326 | 0340 | | ≤c. 1735 | | |
| 054 | Herr Jesu Christ, ich schrei zu dir | 4486 | 0334 | Epiphany IV? | 1729? | 01-30? | Stanza 3 ("Herr Jesu Christ, groß ist die Not") is closing chorale of Picander cycle No. 15 |
| 055 | Das neugeborne Kindelein | 0491 | 0122/6 | Christmas I | 1724 | 12-31 | Stanza 5 ("Es bringt das rechte Jubeljahr") in BWV 122/6 |
| 056 | Ich freue mich in dir | 5187 | 0133/6 | Christmas 3 | 1724 | 12-27 | Stanza 4 ("Wohlan, so will ich mich") in BWV 133/6 |
| 057 | O Welt, sieh hier dein Leben | 2293b | 0393 | Passion? | 1731? | 03-23? | Stanza 4 ("Ich, ich und meine Sünden") in BWV 247/13 |
| 058 | Lobt Gott, ihr Christen, allzugleich | 0198 | 0375 | Epiphany? | 1729? | 01-06? | Stanza 8 ("Heut schleußt er wieder auf die Tür") is closing chorale of Picander cycle No. 11 |
| 058 | Lobt Gott, ihr Christen, allzugleich | 0198 | 0375 | Annunciation? | 1729? | 03-25? | Stanza 1 is closing chorale of Picander cycle No. 27 |
| 059 | Wie schön leuchtet der Morgenstern | 8359 | 0436 | | ≤c. 1735 | | |
| 060 | Herr Jesu Christ, wahr' Mensch und Gott | 2570 | 0127/5 | Estomihi | 1725 | 02-11 | Stanza 8 ("Ach, Herr, vergib all unsre Schuld") in BWV 127/5 |
| 061 | Wär Gott nicht mit uns diese Zeit | 4441a | 0257 | Passion? | 1731? | 03-23? | Stanza 2 ("Was Menschenkraft und -witz anfäht") from "Wo Gott der Herr nicht bei uns hält" in BWV 247/31 |
| 062 | Befiehl du deine Wege | 5385a | 0270 | Passion? | 1731? | 03-23? | Stanza 1 in BWV 247/33, or /28: stanza 6 ("Ich will hier bei dir stehen") from "O Haupt voll Blut und Wunden" |
| 063 | Herr, ich habe missgehandelt | 3695 | 0331 | Passion? | 1731? | 03-23? | Stanza 1 in BWV 247/37 |
| 064 | Ein feste Burg ist unser Gott | 7377 | 0302 | Passion? | 1731? | 03-23? | Stanza 4 ("Das Wort sie sollen lassen stahn") in BWV 247/42 |
| 065 | Gelobet seist du, Jesu Christ | 1947 | 0314 | Christmastide? | ≤c. 1735 | Dec.– Jan.? | |
| 066 | Nun ruhen alle Wälder | 2293b | 0097/9 | Trinity V? | 1734? | 07-25? | Stanza 9 ("So sei nun, Seele, deine") from "In allen meinen Taten" in BWV 97/9 |
| 067 | Ich ruf zu dir, Herr Jesu Christ | 7400 | 0177/5 | Trinity IV | 1732 | 07-06 | Stanza 5 ("Ich lieg im Streit und widerstreb") in BWV 177/5 |
| 068 | Ich ruf zu dir, Herr Jesu Christ | 7400 | 0185/6 | Trinity IV | 1715 | 07-14 | Stanza 1 in BWV 185/6 |
| 069 | Ich ruf zu dir, Herr Jesu Christ | 7400 | 1124 | Trinity IV? | ≤c. 1735 | Jun.– Jul.? | |
| 070 | Es ist das Heil uns kommen her | 4430 | 0009/7 | Trinity VI | 1734? | 08-01? | Stanza 12 ("Ob sichs anließ, als wollt er nicht") in BWV 9/7 |
| 071 | Jesu, der du meine Seele | 6804 | 0105/6 | Trinity IX | 1723 | 07-25 | Stanza 11 ("Nun, ich weiß, du wirst mir stillen") in BWV 105/6 |
| 072 | Was frag ich nach der Welt | 5206b–c | 0094/8 | Trinity IX | 1724 | 08-06 | Stanzas 7 ("Was frag ich nach der Welt! Im Hui ...") and 8 in BWV 94/8 |
| 073 | Nimm von uns, Herr, du treuer Gott | 2561 | 0101/7 | Trinity X | 1724 | 08-13 | Stanza 7 ("Leit uns mit deiner rechten Hand") in BWV 101/7 |
| 074 | Herr Jesu Christ, du höchstes Gut | 4486 | 0113/8 | Trinity XI | 1724 | 08-20 | Stanza 8 ("Stärk mich mit deinem Freudengeist") in BWV 113/8 |
| 075 | Ich armer Mensch, ich armer Sünder | 2778 | 0179/6 | Trinity XI | 1723 | 08-08 | Stanza 1 in BWV 179/6 |
| 076 | Was Gott tut, das ist wohlgetan | 5629 | 0069.1/6 | Trinity XII | 1723 | 08-15 | Stanza 6 ("Was Gott tut, das ist wohlgetan, darbei ...") in BWV 69.1/6 |
| 077 | Hast du denn, Jesu, dein Angesicht gänzlich verborgen | 1912a-c | 0137/5 | Trinity XII | 1725 | 08-19 | Stanza 5 ("Lobe den Herren, was in mir ist, lobe den Namen") from "Lobe den Herren, den mächtigen König der Ehren" in BWV 137/5 |
| 078 | Wenn mein Stündlein vorhanden ist | 4482a | 0031/9 | Easter | 1715 | 04-21 | Stanza 5 ("So fahr ich hin zu Jesu Christ") in BWV 31/9 |
| 079 | Alleluja: Aus dem Lied "Christ ist erstanden" | 8584 | 0066/6 | Easter2 | 1724 | 04-10 | Stanza 3 ("Alleluja") from "Christ ist erstanden" in BWV 66/6 |
| 080 | Allein zu dir, Herr Jesu Christ | 7292b | 0033/6 | Trinity XIII | 1724 | 09-03 | Stanza 4 ("Ehr sei Gott in dem höchsten Thron") in BWV 33/6 |
| 081 | Nun lob, mein Seel, den Herren | 8244 | 0390 | Trinity XIV? | ≤c. 1735 | Aug.– Sep.? | |
| 082 | Herr Christ, der einge Gottes Sohn | 4297a | 0164/6 | Trinity XIII | 1725 | 08-26 | Stanza 5 ("Ertöt uns durch dein Güte") in BWV 164/6 |
| 083 | Herr Jesu Christ, meins Lebens Licht | 0314b | 0335 | Trinity XIII? | 1728? | 08-22? | Stanza 14 ("Wie werd ich doch [dann] so fröhlich sein") is closing chorale of Picander cycle No. 56 |
| 084 | Jesu, der du meine Seele | 6804 | 0078/7 | Trinity XIV | 1724 | 09-10 | Stanza 12 ("Herr, ich glaube, hilf mir Schwachen") in BWV 78/7 |
| 085 | Herr Gott, dich loben alle wir | 0368 | 0130/6 | Michaelmas | 1724 | 09-29 | Stanzas 11 ("Darum wir billig loben dich") and 12 in BWV 130/6 |
| 086 | Meinen Jesum lass ich nicht | 3449 | 0380 | Easter I? | 1729? | 04-24? | Stanza 1 is closing chorale of Picander cycle No. 31 |
| 086 | Meinen Jesum lass ich nicht | 3449 | 0380 | Epiphany I? | 1729? | 01-09? | Stanza 6 ("Jesum laß ich nicht von mir") is closing chorale of Picander cycle No. 12 |
| 086 | Meinen Jesum lass ich nicht | 3449 | 0380 | Trinity XV? | ≤c. 1735 | Sep.? | |
| 087 | Weg, mein Herz, mit den Gedanken | 6543 | 0019/7 | Michaelmas | 1726 | 09-29 | Stanza 9 ("Lass dein' Engel mit mir fahren") from "Freu dich sehr, o meine Seele" in BWV 19/7 |
| 088 | Liebster Gott, wenn werd ich sterben | 6634 | 0008/6 | Trinity XVI | 1724 | 09-24 | Setting by Daniel Vetter; Stanza 5 ("Herrscher über Tod und Leben") in BWV 8/6 |
| 089 | Wenn mein Stündlein vorhanden ist | 4482a | 0095/7 | Trinity XVI | 1723 | 09-12 | Stanza 4 ("Weil du vom Tod erstanden bist") in BWV 95/7 |
| 090 | Warum betrübst du dich, mein Herz | 1689a | 0421 | Trinity XVII? | ≤c. 1735 | Sep.– Oct.? | |
| 091 | Ach, lieben Christen, seid getrost | 4441a | 0114/7 | Trinity XVII | 1724 | 10-01 | Stanza 6 ("Wir wachen oder schlafen ein") in BWV 114/7 |
| 092 | Herr Christ, der einge Gottessohn | 4297a | 0096/6 | Trinity XVIII | 1724 | 10-08 | Stanza 5 ("Ertöt uns durch dein Güte") in BWV 96/6 |
| 093 | Auf meinen lieben Gott | 2164 | 0005/7 | Trinity XIX | 1724 | 10-15 | Stanza 11 ("Führ auch mein Herz und Sinn") in BWV 5/7 |
| 094 | Aus tiefer Not schrei ich zu dir | 4437 | 0038/6 | Trinity XXI | 1724 | 10-29 | Stanza 5 ("Ob bei uns ist der Sünden viel") in BWV 38/6 |
| 095 | Auf, auf, mein Herz, mit Freuden | 5243 | 0441* | | ≤c. 1735 | | Four-part version of BWV 441 (Schemellis Gesangbuch No. 320) |
| 096 | Nun komm, der Heiden Heiland | 1174 | 0062/6 | Advent I | 1724 | 12-03 | Stanza 8 ("Lob sei Gott dem Vater ton") in BWV 62/6 |
| 097 | Wenn mein Stündlein vorhanden ist | 4482a | 0430 | Passion? | 1731? | 03-23? | Stanza 1 from "Betrübtes Herz sei wohlgemut" [choralwiki] in BWV 247/19 |
| 098 | Kommt her zu mir, spricht Gottes Sohn | 2496b | 0108/6 | Easter IV | 1725 | 04-29 | Stanza 10 ("Dein Geist, den Gott von Himmel gibt") from "Gott Vater, sende deinen Geist" in BWV 108/6 |
| 099 | Es woll uns Gott genädig sein | 7247 | 0312 | Epiphany V? | 1729? | 02-06? | Stanza 3 ("Es dancke Got und lobe dich") is closing chorale of Picander cycle No. 17 |
| 100 | Sei Lob und Ehr dem höchsten Gut | 4430 | 0117/4 0117/9 | Birthday? | c. 1728– 1731 | | Stanzas 4 ("Ich rief dem Herrn in meiner Not") and 9 ("So kommet vor sein Angesicht") in BWV 117/4 and /9; See also variant Dietel No. 1 |
| 101 | Der Herr ist mein getreuer Hirt | 4457 | 0112/5 | Easter II | 1731 | 04-08 | Stanza 5 ("Gutes und die Barmherzigkeit") in BWV 112/5 |
| 102 | Ich hab in Gottes Herz und Sinn | 7568 | 0103/6 | Easter III | 1725 | 04-22 | Stanza 9 ("Ich hab dich einen Augenblick") from "Barmherzger Vater, höchster Gott" in BWV 103/6 |
| 103 | Was Gott tut, das ist wohlgetan | 5629 | 0075/7 0075/14 | Trinity I | 1723 | 05-30 | Stanzas 5 ("Was Gott tut, das ist wohlgetan; Muß ich den Kelch ...") and 6 ("Was Gott tut, das ist wohlgetan, Dabei will ich ...") in BWV 75/7 and /14 |
| 103 | Was Gott tut, das ist wohlgetan | 5629 | 0100/6 | | c. 1734– 1735 | | Stanza 6 ("Was Gott tut, das ist wohlgetan, Dabei will ich ...") in BWV 100/6 |
| 104 | Jesu, meiner Seelen Wonne | 6551a | 0360 | Trinity XI? | 1728? | 08-08? | Stanza 6 ("Bin ich gleich von dir gewichen") is closing chorale of Picander cycle No. 54 |
| 104 | Jesu, meiner Seelen Wonne | 6551a | 0360 | Easter IV? | ≤c. 1735 | Apr.– May? | |
| 105 | Jesu, meine Freude | 8032 | 0087/7 | Easter V | 1725 | 05-06 | Stanza 9 ("Muß ich sein betrübet?") from "Selig ist die Seele" in BWV 87/7 |
| 106 | Ist Gott mein Schild und Helfersmann | 2542 | 0085/6 | Easter II | 1725 | 04-15 | Stanza 4 ("Ist Gott mein Schutz und treuer Hirt") in BWV 85/6 |
| 107 | Du Lebensfürst, Herr Jesu Christ | 5741b | 0043/11 | Ascension | 1726 | 05-30 | Setting by Christoph Peter [de]; Stanzas 1 and 13 in BWV 43/11 |
| 108 | Nun ruhen alle Wälder | 2293b | 0044/7 | Ascension I | 1724 | 05-21 | Stanza 7 ("So sei nun, Seele, deine") from "In allen meinen Taten" in BWV 44/7 |
| 109 | Nun bitten wir den Heiligen Geist | 2029a | 0385 | Trinity XVIII? | 1728? | 09-26? | Stanza 3 ("Du süße Lieb, schenk uns deine Gunst") is closing chorale of Picander cycle No. 61 |
| 109 | Nun bitten wir den Heiligen Geist | 2029a | 0385 | Pentecost? | ≤c. 1735 | May– Jun.? | |
| 110 | Komm, Heiliger Geist, Herre Gott | 7445a | 0175/7 | Pentecost 3 | 1725 | 05-22 | Stanza 9 ("Nun, werter Geist, ich folg dir") from "O Gottes Geist, mein Trost und Rat" in BWV 175/7 |
| 111 | Herzlich lieb hab ich dich, o Herr | 8326 | 0174/5 | Pentecost 2 | 1729 | 06-06 | Stanza 1 in BWV 174/5 |
| 112 | Kommt her zu mir, spricht Gottes Sohn | 2496b | 0074/8 | Pentecost | 1725 | 05-20 | Stanza 2 ("Kein Menschenkind hier auf der Erd") from "Gott Vater, sende deinen Geist" in BWV 74/8 |
| 113 | O Gott, du frommer Gott | 5206b–c | 1125 | | ≤c. 1735 | | |
| 114 | O Gott, du frommer Gott | 5206b–c | 0129/5 | Trinity | 1727 | 06-08 | Stanza 5 ("Dem wir das Heilig itzt") from "Gelobet sei der Herr, mein Gott" in BWV 129/5 |
| 115 | Jesu, meine Freude | 8032 | 0358 | St. John's Day? | 1728? | 06-24? | Stanza 2 ("Unter deinem Schirmen") is closing chorale of Picander cycle No. 46 |
| 115 | Jesu, meine Freude | 8032 | 0358 | New Year I? | 1729? | 01-02? | Stanza 2 ("Unter deinem Schirmen") is closing chorale of Picander cycle No. 10 |
| 115 | Jesu, meine Freude | 8032 | 0358 | Easter II? | 1729? | 05-01? | Stanza 1 is closing chorale of Picander cycle No. 32 |
| 115 | Jesu, meine Freude | 8032 | 0358 | Trinity IV? | 1729? | 07-10? | Stanza 6 ("Weicht, ihr Trauergeister") is closing chorale of Picander cycle No. 45 |
| 116 | Freu dich sehr, o meine Seele | 6543 | 0039/7 | Trinity I | 1726 | 06-23 | Stanza 6 ("Selig sind, die aus Erbarmen") from "Kommt, lasst euch den Herren lehren" in BWV 39/7 |
| 117 | Warum sollt ich mich denn grämen | 6462 | 0422 | Trinity I? | 1729? | 06-19? | Hymn tune as in BWV 248/33 (Bach's adaptation of Zahn 6461); Stanza 10 ("Was sind dieses Lebens Güter?") is closing chorale of Picander cycle No. 42 |
| 117 | Warum sollt ich mich denn grämen | 6462 | 0422 | Trinity XIX? | 1728? | 10-03? | Hymn tune as in BWV 248/33 (Bach's adaptation of Zahn 6461); Stanza 6 ("Satan, Welt und ihre Rotten") is closing chorale of Picander cycle No. 63 (= BWV 1137?) |
| 117 | Warum sollt ich mich denn grämen | 6462 | 0422 | Trinity XIX? | 1729? | 10-23? | Hymn tune as in BWV 248/33 (Bach's adaptation of Zahn 6461); Stanza 6 ("Satan, Welt und ihre Rotten") is closing chorale of Picander cycle No. 63 (= BWV 1137?) |
| 118 | Meine Seel erhebt den Herren | — | 0010/7 | Visitation | 1724 | 07-02 | Melody: Magnificat peregrini toni; Stanzas 10 and 11 (doxology, "Lob und Preis sei Gott dem Vater") in BWV 10/7 |
| 119 | Du Lebensfürst, Herr Jesu Christ | 5741b | 0248/12 | Christmas 2 | 1734 | 12-26 | = Dietel No. 134; Stanza 9 ("Brich an, o schönes Morgenlicht") from "Ermuntre dich, mein schwacher Geist" in BWV 248$^{II}$/3 |
| 120 | Vom Himmel hoch, da komm ich her | 0346 | 0248/17 | Christmas 2 | 1734 | 12-26 | Stanza 8 ("Schaut hin! dort liegt im finstern Stall") from "Schaut, schaut, was ist für Wunder dar" in BWV 248$^{II}$/8 |
| 121 | Es ist gewisslich an der Zeit | 4429a | 0248/59 | Epiphany | 1735 | 01-06 | Stanza 1 from "Ich steh an deiner Krippen hier" in BWV 248$^{VI}$/6 |
| 122 | Ach Herr, mich armen Sünder | 5385a | 0248/64 | Epiphany | 1735 | 01-06 | Stanza 4 ("Nun seid ihr wohl gerochen") from "Ihr Christen auserkoren" in BWV 248$^{VI}$/11 |
| 123 | Gelobet seist du, Jesu Christ | 7247 | 0248/28 | Christmas 3 | 1734 | 12-27 | Stanza 7 ("Dies hat er alles uns getan") in BWV 248$^{III}$/5 |
| 124 | Wir Christenleut | 2072 | 0248/35 | Christmas 3 | 1734 | 12-27 | Stanza 4 ("Seid froh, dieweil") from "Laßt Furcht und Pein" in BWV 248$^{III}$/12 |
| 125 | Warum sollt ich mich denn grämen | 6462 | 0248/33 | Christmas 3 | 1734 | 12-27 | Hymn tune as in BWV 422 (Bach's adaptation of Zahn 6461); Stanza 15 ("Ich will dich mit Fleiß bewahren") from "Fröhlich soll mein Herze springen" in BWV 248$^{III}$/10 |
| 126 | In dich hab ich gehoffet, Herr | 2461c | 0248/46 | New Year I | 1735 | 01-02 | Stanza 5 ("Dein Glanz all' Finsternis verzehrt") from "Nun, liebe Seel, nun ist es Zeit" in BWV 248$^V$/4 |
| 127 | Jesu, meiner Seelen Wonne | 6551a | 0154/3 | Epiphany I | 1724 | 01-09 | Stanza 2 ("Jesu, mein Hort und Erretter") in BWV 154/3 |
| 128 (129) | Wär Gott nicht mit uns diese Zeit | 4434 | 0014/5 | Epiphany IV | 1735 | 01-30 | Stanza 3 ("Gott Lob und Dank, der nicht zugab") in BWV 14/5 |
| 129 (130) | Meinen Jesum lass ich nicht | 3449 | 0154/8 | Epiphany I | 1724 | 01-09 | Stanza 6 ("Meinen Jesum laß ich nicht, Geh ihm") in BWV 154/8 |
| 130 (131) | Gelobet seist du, Jesu Christ | 1947 | 0091/6 | Christmas | 1724 | 12-25 | Stanza 7 ("Das hat er alles uns getan") in BWV 91/6 |
| 131 (132) | Jesu, nun sei gepreiset | 8477a | 0041/6 | New Year | 1725 | 01-01 | Stanza 3 ("Dein ist allein die Ehre") in BWV 41/6 |
| 132 | Wenn mein Stündlein vorhanden ist | 4482a | 0429 | | ≤c. 1735 | | |
| 133 | Christ lag in Todes Banden | 7012a | 0278 | Easter? | 1729? | 04-17? | Stanza 6 ("So feiern wir das hohe Fest") is closing chorale of Picander cycle No. 28 |
| 134 | Ermuntre dich, mein schwacher Geist | 5741b | 0248/12 | Christmas 2 | 1734 | 12-26 | = Dietel No. 119; Stanza 9 ("Brich an, o schönes Morgenlicht") in BWV 248$^{II}$/3 |
| 135 | Von Gott will ich nicht lassen | 5264b | 0417 | | ≤c. 1735 | | |
| 136 (137) | Herzliebster Jesu, was hast du verbrochen | 0983 | 0245.1/3 | Passion | 1724 | 04-07 | Stanza 7 ("O große Lieb") in BWV 245.1/3 |
| 137 (138) | Vater unser im Himmelreich | 2561 | 0245.1/5 | Passion | 1724 | 04-07 | Stanza 4 ("Dein Will gescheh") in BWV 245.1/5 |
| 137 (138) | Vater unser im Himmelreich | 2561 | 0416 | Passion | 1724 | 04-07 | Stanza 4 ("Dein Will gescheh") in BWV 245.1/5 |
| 138 (139) | O Welt, sieh hier dein Leben | 2293b | 0245/11 | Passion | 1724 | 04-07 | Stanzas 3 ("Wer hat dich so geschlagen") and 4 in BWV 245/11 |
| 139 (140) | Jesu, meiner Seelen Wonne | 6551a | 0244/40 | Passion | 1727 | 04-11 | Stanza 6 ("Bin ich gleich von dir gewichen") from "Werde munter, mein Gemüte" in BWV 244/40 |
| 140 (141) | Herzliebster Jesu, was hast du verbrochen | 0983 | 0245/17 | Passion | 1724 | 04-07 | Stanzas 8 ("Ach großer König") and 9 in BWV 245/17 |
| 141 (142) | O Welt, sieh hier dein Leben | 2293b | 0394 | Passion? | ≤c. 1735 | Mar.– Apr.? | |
| 142 (143) | Valet will ich dir geben | 5404a | 0245/26 | Passion | 1724 | 04-07 | Stanza 3 ("In meines Herzens Grunde") in BWV 245/26 |
| 143 (144) | Befiehl du deine Wege | 5385a | 0271 | Passion? | 1731? | 03-23? | Stanza 1 in BWV 247/33, or /28: stanza 6 ("Ich will hier bei dir stehen") from "O Haupt voll Blut und Wunden", or /35: stanza 2 ("Du edles Angesichte") from the same |
| 144 (145) | An Wasserflüssen Babylon | 7663 | 0267 | Passion? | ≤c. 1735 | Mar.– Apr.? | Tune a.k.a. "Ein Lämmlein geht und trägt die Schuld" (Passion hymn) |
| 145 (146) | (Jesu, der du meine Seele) | 6804 | 0354 | | ≤c. 1735 | | |
| 146 (147) | Jesu, meiner Seelen Wonne | Vol. VI p. 566 | 0248/42 | New Year | 1735 | 01-01 | Stanza 15 ("Jesus richte mein Beginnen") from "Hilf, Herr Jesu, laß gelingen" in BWV 248$^{IV}$/7 |
| 147 (148) | Gott des Himmels und der Erden | 3614b | 0248/53 | New Year I | 1735 | 01-02 | Stanza 9 ("Zwar ist solche Herzensstube") from "Ihr Gestirn, ihr hohlen Lüfte" in BWV 248$^V$/11 |
| 148 (149) | Liebster Gott, wenn werd ich sterben | 6634 | deest | Trinity XVI? | ≤c. 1735 | Sep.– Oct.? | Setting related to BWV 8/6 and BWV 483 |
| 149 (150) | Nun danket alle Gott | 5142 | 0386 | Visitation? | 1729? | 07-02? | Stanza 1 is closing chorale of Picander cycle No. 48 |

## Reception

When Gerlach died in Leipzig in 1761 he apparently had no heirs living in the town: a large part of his music collection, for instance the copies of the Porpora cantatas, came in the possession of the music publishers Bernhard Christoph and Johann Gottlob Immanuel Breitkopf. The earliest trace of the Dietel manuscript dates from 1764, when the Breitkopf publishing firm offered (manuscript) copies of the chorale collection for sale. The earliest prints of Bach's four-part chorale collections, two volumes published by Birnstiel in 1765 and 1769 respectively, drew from other manuscripts than the Dietel Collection. Bach's son Carl Philipp Emanuel (C. P. E.), who had collaborated on Birnstiel's 1765 volume, fell out with the publisher and left further plans for a complete edition of his father's four-part chorales to Johann Kirnberger, who negotiated with the Breitkopf firm on the subject. In 1777 Kirnberger wrote to Breitkopf:
The "150 Stück" (150 pieces) mentioned by Kirnberger refer to the Dietel manuscript. Kirnberger was also the librarian of the Amalienbibliothek, the library of his employer Princess Anna Amalia of Prussia. The library contained these manuscripts:
* D-B Am.B 46/II, Fascicle 3, containing 111 four-part chorales, all of which also occur in the Dietel collection. The fascicle is part of the Am.B 46/II collection, which contains 369 chorales, and its content likely corresponds to the collection of chorales which Kirnberger had acquired from C. P. E. Bach. The Am.B 46/II copy was likely produced in Berlin (where Kirnberger lived and worked) around the 1770s.
* D-B Am.B 48: a rather straightforward copy of the Dietel manuscript, produced in Leipzig by the Breitkopf firm, that is, the kind of copy they offered for sale in 1764, and the only extant of such copies. It is not known when this copy entered the Amalienbibliothek, but it seems unlikely that Kirnberger would have been unaware of its presence in the library when he wrote his July 1777 letter to Breitkopf (meaning: the Am.B 48 copy likely only arrived in Berlin after that letter).
When Kirnberger died in 1783, no new edition of Bach's four-part chorales had materialised. Shortly thereafter, in 1784 and 1785, Breitkopf published the first two volumes of their new edition of these chorales, edited by C. P. E. Bach. These volumes reflected, to a large extent, the two Birnstiel volumes, that is, none of the chorales contained in them were extracted from the Dietel manuscript: the chorales from that manuscript, or rather, from the Am.B 46/II, Fascicle 3, selection, were only included in the third (1786) and concluding fourth (1787) volumes of Breitkopf's edition. Within two decades after the publication, Breitkopf disposed of the Dietel manuscript, Otto Carl Friedrich von Voß [de] becoming its new owner. A later owner of the manuscript was Ernst Rudorff, and from 1917 it resided in the Music Library Peters [de] in Leipzig, where it got the shelf mark R 18. Eventually the collection of the Peters library was adopted in the Leipzig City Library [de], from where the R 18 manuscript was transmitted, as a permanent loan, to the Bach Archive in 2014.
The Dietel manuscript only started to attract stronger attention from scholarship in the second half of the 20th century. In 1991 the New Bach Edition published the entire manuscript, edited by Frieder Rempp [scores]: the edition included several chorales from the manuscript which had not been given a BWV number in the 1950 first edition of the Bach-Werke-Verzeichnis. Four chorales from the Dietel manuscript were given a BWV number in the 1122–1125 range in the 1998 edition of the Bach-Werke-Verzeichnis.