Mit Fried und Freud ich fahr dahin, BWV 125

Mit Fried und Freud ich fahr dahin ([mɪt ˈfʁiːd ʊnt ˈfʀɔʏ̯ d ɪç ˈfaːʁ daˈhɪn];
Mit Fried und Freud ich fahr
With peace and joy I depart),[1] BWV 125,[a] is a cantata by Johann Sebastian
dahin
Bach for use in a Lutheran service. He composed this chorale cantata in
BWV 125
Leipzig in 1725 for the feast for the Purification of Mary which is celebrated
on 2 February and is also known as Candlemas. The cantata is based on Chorale cantata by J. S. Bach
Martin Luther's 1524 hymn "Mit Fried und Freud ich fahr dahin", and forms
part of Bach's chorale cantata cycle, written to provide Sundays and feast days
of the liturgical year with cantatas based on a related Lutheran hymn.

The gospel for the feast day, the presentation of Jesus at the Temple, includes
Simeon's canticle Nunc dimittis, which Luther paraphrased in his hymn,
providing an unusually close relation of the hymn and the liturgical occasion.
Bach had used single stanzas of the hymn in his early funeral cantata Gottes
Zeit ist die allerbeste Zeit, BWV 106, and in cantatas of his first Leipzig cycle.

In the format of the chorale cantata cycle, an unknown librettist retained the
first and the last of Luther's four stanzas, while he paraphrased the inner
Simeon's Song of Praise
stanzas. In this cantata, he also used the original text of the second stanza,
by Aert de Gelder, around 1700–1710
interspersed with his words, as the third movement, a recitative, after he
paraphrased the same ideas for the second movement, an aria. The librettist Occasion Purification
derived text for two more movements from Luther's third stanza. Bach Performed 2 February 1725: Leipzig
structured the cantata in six movements, framing four movements for soloists Movements 6
by a chorale fantasia and a closing chorale. He scored the work for three vocal
Chorale "Mit Fried und Freud ich
soloists, a four-part choir, and a Baroque ensemble consisting of horn, flauto
fahr dahin"
traverso, oboe, oboe d'amore, strings and basso continuo. The opening chorus
by Martin Luther
has been compared to the opening movement of Bach'sSt Matthew Passion. In
the third movement, Bach sets the single lines from the hymn's second stanza Vocal SATB choir
differently from the commentary in the librettist's words, but unifies both solo: alto, tenor and bass
elements by a continuous "motif of joy" in the accompaniment.
Instrumental horn · flauto traverso ·
oboe · oboe d'amore · 2
violins · viola · continuo
Contents
Background
Chorale cantata cycle
Luther's hymns
Bach's chorale cantata structure
Readings, hymn and cantata text
Music
Structure and scoring
Movements
Manuscripts and publication
Recordings
Notes
References
 Bibliography
External links

Background

Chorale cantata cycle

In 1723, Bach was appointed as Thomaskantor (director of church music) inLeipzig. He was employed by the town of Leipzig to this
position, which made him responsible for the music at four churches and for the training and education of boys singing in the
Thomanerchor. Cantata music had to be provided for two major churches, Thomaskirche (St. Thomas) and Nikolaikirche (St.
Nicholas), simpler church music for two others,Neue Kirche (New Church) and Peterskirche (St. Peter).

Bach took office in the middle of the liturgical year, on the first Sunday after Trinity. In Leipzig, cantata music was expected on
Sundays and on feast days, except during the "silent periods" ("tempus clausum") of Advent and Lent. In his first twelve months in
office, Bach decided to compose new works for lamost all liturgical events. These works became known as hisfirst cantata cycle. The
year after, he continued that effort, composing a cycle of chorale cantatas, with each cantata based on one Lutheran hymn, including
Mit Fried und Freud ich fahr dahin, for these occasions.[2][3] The choice of hymns to use in the series of chorale cantatas was
probably made according to the wishes of a local minister, who based the choice upon the prescribed readings and his plans for
sermons.[3]

Luther's hymns
In the 16th century Martin Luther, the Protestant reformer, emphasised the importance of
hymn singing in church services and at home, authoring many hymns, including "Mit Fried
und Freud ich fahr dahin".[3]

Bach composed an early chorale cantata on a hymn by Luther, Christ lag in Todes Banden,
BWV 4, probably in 1707. During his chorale cantata cycle, Bach used a hymn by Luther as
the basis for a cantata on nine occasions. Additionally, he performed Christ lag in Todes
Banden again during that cycle.[4]

The following table shows the cantatas that Bach performed on hymns by Luther during the
chorala cantata cycle, comprising nine new compositions and the repeated performance of the
Easter cantata. The first column holds the cantata number, with a link, to the article about it, Martin Luther, portrait by
Lucas Cranach, 1528
the following column holds the hymn of the same name, on which it is based. The third
column shows the liturgical occasion, and the fourth the date of the performance, which is the
first performance for all but the Easter cantata.
 No. Hymn Liturgical occasion Date

2 "Ach Gott, vom Himmel sieh darein" Second Sunday after Trinity 18 June 1724 [5]

7 "Christ unser Herr zum Jordan kam" St. John's Day 24 June 1724 [6]

10 "Meine Seel erhebt den Herren" Visitation 2 July 1724 [7]

38 "Aus tiefer Not schrei ich zu dir" 21st Sunday after Trinity 29 October 1724 [8]

62 "Nun komm, der Heiden Heiland" First Sunday of Advent 3 December 1724 [9]

91 "Gelobet seist du, Jesu Christ" Christmas 25 December 1724 [10]

121 "Christum wir sollen loben schon" Second Day of Christmas 26 December 1724 [11]

125 "Mit Fried und Freud ich fahr dahin" Purification 2 February 1725

126 "Erhalt uns, Herr, bei deinem Wort" Sexagesima 4 February 1725 [12]

1 April 1725 [4]

4 "Christ lag in Todesbanden" Easter
(repeated)

Bach used Luther's hymns in other works during his career. He had included "Ein feste Burg ist unser Gott" earlier in a cantata for
Advent, Alles, was von Gott geboren, BWV 80a, which he reworked as a chorale cantata for Reformation Day (BWV 80).[13] He
finally composed Wär Gott nicht mit uns diese Zeit, BWV 14, for the Fourth Sunday after Epiphanyin 1735.[14]

Bach's chorale cantata structure

Bach followed a specific structure for most of the cantatas in this cycle. He deviated from using the strophic hymn text and tune in all
stanzas (per omnes versus), as he had in Christ lag in Todes Banden. Instead, he retained the original text and melody only in the
outer stanzas, typically treating the first as a chorale fantasia and the last as a four-part chorale setting, while the inner stanzas were
reworded by a librettist as the basis for recitatives and arias, often with music independent of the hymn tune.[3] Andreas Stübel
(1653–1725), a former headmaster of theThomasschule, may have been this librettist.[3]

Readings, hymn and cantata text

During Bach's time in Leipzig, three Marian feasts were observed and celebrated: Annunciation (25 March), Visitation (2 July) and
Purification (2 February).[15] The prescribed readings for the Feast of the Purification, (German: Mariae Reinigung),[16] were from
the Book of Malachi's, "the Lord will come to his temple" (Malachi 3:1–4), and the Gospel of Luke's version of the purification of
Mary and the presentation of Jesus at the Temple, which includesSimeon's canticle Nunc dimittis (Luke 2:22–32).[2]

When Luther wrote his hymn on Simeon's canticle ("With peace and joy I depart in God's will"),[17] he devoted one stanza to each of
the four verses of the biblical text. The first verse discusses peaceful acceptance of death (Luke 2:29), the second gives as a reason
for that the meeting with the Saviour L
( uke 2:30), the third is focused on Christ's return for all people (Luke 2:31), the fourth sees the
Second Coming as a light for the heathen and glory for Israel (Luke 2:31). The lines are of different length, with a metre of
[18]
8.4.8.4.7.7, stressing single statements in the short lines.

The tune first appeared in 1524 in Johann Walter's choral hymnal Eyn geystlich Gesangk Buchleyn.[19] Luther wrote commentary on
his hymn:

As [Simeon] means, Praise and thanks be to God that I have

lived to see this day, I will now gladly die, now my death
will be delightful, because God has fulfilled what He called
me to do. Why will you so gladly die, dear Simeon? 'For my
eyes have seen your Salvation.'[20]
 (Als wolt er [Simeon] sagen / Gott sey lob und danck / daß
ich diesen Tag erlebet habe / ich will nun gerne sterben / nun
soll mir der Tod lieblich seyn / denn es ist erfüllet / das mir
verheissen war. Warum wiltu aber so gerne sterben / lieber
Simeon? 'Denn meine Augen haben deinen Heyland
gesehen.')[21]

Bach first used the hymn as part of his early funeral cantata Gottes Zeit ist
die allerbeste Zeit, BWV 106 (Actus tragicus), the alto singing the first
stanza, juxtaposed to a bass arioso, "Heute wirst du mit mir im Paradies
sein".[22] He returned to it twice for his first Leipzig cantata cycle. The first
stanza was the basis for his cantata for the 16th Sunday after Trinity of 1723,
Christus, der ist mein Leben, BWV 95, along with the first stanza of the
funeral hymn "Christus, der ist mein Leben" in the opening movement for
tenor. The second occasion was in 1724, in the Purification cantata, Erfreute
Zeit im neuen Bunde, BWV 83, which he closed with the fourth and final
stanza, "Es ist das Heil und selig Licht".[19][23]

For Mit Fried und Freud ich fahr dahin, a librettist retained the first and the
last stanza and paraphrased the two inner stanzas to four movements. The
second movement, based on Luther's second stanza, is focused on Simeon's
perspective as a means of how to anticipate one's own death. The third
movement interweaves Luther's complete text with a free recitative. The Nunc dimittis, Gregorian chant
Bach scholar Klaus Hofmann notes that the librettist had room to add his
own text because Luther's hymn is rather short.[24] The allusion to "light for
the heathen" from the gospel and the hymn refers to "He that believeth and is baptized shall be saved" (Mark 16:16). Luther's third
stanza forms the basis for the fourth and fifth movements. The fourth movement refers to Paul's teaching about the grace of God,
("Whom God hath set forth to be a propitiation through faith in his blood, to declare his righteousness for the remission of sins that
are past, through the forbearance of God") (Romans 3:25). It declares the Lutheran teaching of justification "by grace alone through
[25]
faith alone because of Christ alone" even more clearly than Luther's song.

Bach led the first performance of the cantata with the Thomanerchor in the morning service at the Nikolaikirche on 2 February 1725,
and reprised it in the vesper service in the Thomaskirche, as was usual in Leipzig on high holidays.[26] Bach performed it at least one
more time after 1735.[27]

Music

Structure and scoring

Bach structured the cantata in six movements. The first and last are set for choir as a chorale fantasia and a closing chorale. They
frame alternating recitatives and arias with the text arranged by the librettist. Bach scored the work for three vocal soloists (alto (A),
tenor (T) and bass (B)), a four-part choir, and a Baroque instrumental ensemble: horn to support the chorale tune sung by the soprano
in the outer movements, flauto traverso (Ft), oboe (Ob), oboe d'amore (Oa), two violins (Vl), viola (Va), and basso continuo
(Bc).[28][29] The title page of the original parts reads: "Festo Purificat: Mari[ae] / Mit Fried und Freud ich fahr dahin etc. / â / 4 Voc: /
Travers: / Hautbois d' Amour / 2 Violini / Viola / con / Continuo / di / Sign: / JS. Bach".[30] The duration of the cantata is given as
around 24 minutes.[31]

In the following table of the movements, the scoring follows the Neue Bach-Ausgabe.[29] The keys and time signatures are taken
from the book by Bach scholar Alfred Dürr, using the symbol for common time (4/4).[32] The instruments are shown separately for
winds and strings, while the continuo, playing throughout, is not shown.
 Movements of Mit Fried und Freud ich fahr dahin, BWV 125
No. Title Text Type Vocal Winds Strings Key Time
Mit Fried und Freud ich fahr Co Ft
1 Luther Chorale fantasia SATB 2Vl Va E minor 12/8
dahin Ob
Ich will auch mit gebrochnen
2 anon. Aria A Ft Oa B minor 3/4
Augen

O Wunder, daß ein Herz

anon. Recitative e
3 Das macht Christus, wahr' B 2Vl Va
Luther chorale
Gottes Sohn

G
4 Ein unbegreiflich Licht anon. Aria (Duetto) TB 2Vl
major

O unerschöpfter Schatz der

5 anon. Recitative A
Güte

Co Ft
6 Er ist das Heil und selig Licht Luther Chorale SATB 2Vl Va E minor
Ob

Movements

1
The opening chorus, "Mit Fried und Freud ich fahr dahin in Gottes
Willen" (With peace and joy I depart in God's will),[1] begins with a
concertante ritornello, in which the flute and the oboe play opposed to
the strings. A motif in triplets has first a leap of a fifth, related to the
first interval of the chorale tune.[16][19] The fifth and the triplet motion
dominate the entire movement.[24]

Mit Fried und Freud ich fahr With peace and joy I go on
dahin my way
In Gottes Willen, in God's will.
Getrost ist mir mein Herz und My heart and mind are
Sinn, comforted, The first stanza of the chorale in the hymnal
Babstsches Gesangbuch of 1545, with an
Sanft und stille. peaceful and calm.
illustration of the Presentation at the temple
Wie Gott mir verheißen hat: As God promised me
Der Tod ist mein Schlaf death has become my sleep.
worden.

The soprano sings the cantus firmus in long notes.[33] Hofmann notes that the Dorian mode within the instrumental concerto in E
minor adds a "slightly archaic flavour".[24] The lower voices participate in the instrumental motifs for lines 1, 2, 3 and 5, but lines 4
and 6 are treated differently. In accordance to the text, "sanft und stille" (calm and quiet) and "der Tod ist mein Schlaf worden" (death
has become my sleep), they are performed softly (piano), in homophony, chromatic, and modulating to distant keys.[34] Dürr notes
the movement's "extremely dense, highly expressive texture"[34] with motifs independent from the hymn tune but derived from its
beginning.[34] The Bach scholar Richard D. P. Jones observes that the movement foreshadows Kommt, ihr Töchter, helft mir klagen,
, 12/8 metre and "much else".[35]
the opening chorus of Bach's St Matthew Passion, in key

2
The alto aria, "Ich will auch mit gebrochnen Augen nach dir, mein treuer Heiland, sehn." (Even with broken eyes, I will look for You,
my loving Savior.),[1] is a Sarabande with slow dotted rhythms.[35] The vocal line is accompanied by the flute and oboe d'amore, on a
foundation of repeated notes in the continuo, marked "legato".[25] The phrase "gebrochne Augen" (broken eyes) is pictured by a
broken vocal line, flute and oboe d'amore play dotted rhythm to the "almost trembling declamation" of the voice.[33] Hofmann notes
the movement's "emotions of grief and lamentation",[24] while Dürr writes: "Rich suspension appoggiaturas, and other ornaments
[34]
reveal that an expressive interpretation of this movement lay particularly close to the composer's heart."

3
The bass recitative begins with a thought of the librettist, "O Wunder, daß ein Herz vor der dem Fleisch verhaßten Gruft und gar des
Todes Schmerz sich nicht entsetzet!" (O wonder, that a heart before the flesh-abhorred tomb, and even the pain of death does not
recoil!).[1] The text continues with the beginning of the hymn's second stanza."Das macht Christus, wahr' Gottes Sohn, der treue
Heiland" (Christ, God's true son, does this, the loving Savior).[1] The pattern of comment and original is retained throughout the
movement in a hybrid text that holds in single lines the complete text of the second stanza:

Das macht Christus, wahr' Gottes Sohn,
Der treue Heiland,
Den du mich, Herr, hast sehen lan,
Und machst bekannt
Daß er sei das Leben und Heil,
Im Tod und auch im Sterben.
This is the work of Christ, God's true son,
the faithful saviour,
whom you, Lord, have allowed me to see
and made known
that He is our life and salvation
in trouble and in dying.

Bach sets the elements recitative and chorale differently, rendering the librettist's text in "rhythmically free diction of recitative",[24]
and the chorale as arioso. He unifies the movement by a continuous motif in the strings, called Freudenmotiv by Dürr, which "always
indicates an underlying mood of happiness".[24][36] The chorale tune is unadorned but for the last line, "im Tod und auch im Sterben"
(in death and also in dying), where the music is extended by two measures and coloured in chromatic and rich ornamentation, and the
[34]
strings cease to play the constant motif and accompany in "tranquil notes".

4
The tenor and bass duet "Ein unbegreiflich Licht erfüllt den ganzen Kreis der Erden
" (An unfathomable light fills the entire orb of the
earth),[1] is focused on the light mentioned by Simeon, expressed in a joyful mood.[1] The Hofmann notes: "The playful character is
shown by the extended, circling coloratura on the word 'Kreis' ('circle' or 'orb'), and the baroque sound effect of statement and
response unfolds to the words 'Es schallet kräftig fort und fort' (Powerfully there rings out time after time.)"[16] Jones comments that
the trio sonata of two violins and continuo which accompanies the voices "in its vigour and fluency perhaps represents the powerful,
continuous sound to which the text refers."[35]

5
The alto expresses in a secco recitative "O unerschöpfter Schatz der Güte" (O uncreated hoard of goodness),[1] which Hofmann calls
a "concise theological analysis".[24]

6
The closing chorale, "Er ist das Heil und selig Licht" (He is the salvation and the blessed light),[1] is a four-part setting of the hymn
tune.[37]

Er ist das Heil und selig Licht He is salvation and a blessed light
Für die Heiden, for the gentiles,
Zu erleuchten, die dich kennen nicht, to enlighten those who do not know you,
Und zu weiden. and to give them pasture.
Er ist deins Volks Israel For your people Israel He is
Der Preis, Ehr, Freud, und Wonne. their reward, honour, joy and delight.

The horn, the flute (an octave higher), the oboe and the first violin all reinforce the soprano part, the second violin the alto, and the
viola the tenor.[29]

Jones summarizes in his book The Creative Development of Johann Sebastian Bach: "The exceptionally high quality of the music
may reflect Bach's response to the divine authority of the Nunc dimittis, mediated by the revered founder of the Lutheran
Church."[35]

Manuscripts and publication

The autograph score is lost, its last documented owner being Christian Friedrich Penzel,[26] one of Bach's last students and a copyist
of his works. The original parts are kept in the Bach-Archiv Leipzig. They were copied from the lost autograph score by four scribes,
three of them known by name, including the composer.[38] A set of three duplicate parts is kept in the Staatsbibliothek zu Berlin –
Preußischer Kulturbesitz as D-B Mus. ms. Bach St 384, Faszikel 1. They were copied by five scribes, of which three are known by
name: Christian Gottlob Meißner, Wilhelm Friedemann Bach and Johann Andreas Kuhnau. The set has a title page and parts for
violin I and II, and continuo.[39]

The score for the first movement was first published by Anton Diabelli around 1835 with a Latin text, Da pacem nobis Domine.[40]
The cantata was originally published in 1878 as No. 4 in volume 26 of the Bach-Gesellschaft Ausgabe (BGA), edited by Alfred
Dörffel.[26] The New Bach Edition (Neue Bach-Ausgabe, NBA) published the score in 1994, edited by Uwe Wolf, with the critical
commentary published the same year.[27]

A critical edition was published by Breitkopf, edited by Eva-Maria Hodel.[41] Another was published by Carus in 2008, edited by
[42]
Wolfram Enßlin, which also provided a singable English version.

Recordings
The selection is taken from the listing on the Bach Cantatas Website.[43][44] Instrumental groups playing period instruments in
historically informed performancesare highlighted green under the header "Instr.".
 Recordings of Mit Fried und Freud ich fahr dahin, BWV 125
Conductor / Choir /
Title Soloists Label Year Instr.
Orchestra
Helmuth Rilling
Figuralchor der Marga Höffgen
Gedächtniskirche
Die Bach Kantate Vol. 25 Kurt Equiluz Hänssler 1973
Stuttgart
Bach-Collegium Wolfgang Schöne
Stuttgart
Nikolaus
J. S. Bach: Das Kantatenwerk • Harnoncourt Paul Esswood
Complete Cantatas • Les Cantates, Tölzer Knabenchor Kurt Equiluz Teldec 1982 Period
Folge / Vol. 7 Concentus Musicus Thomas Thomaschke
Wien
Philippe Ingeborg Danz Harmonia
Herreweghe
J. S. Bach: "Mit Fried und Freud"[45] Mark Padmore Mundi 1998 Period
Collegium Vocale
Peter Kooy France
Gent
Pieter Jan Leusink Sytse Buwalda
Holland Boys Choir Brilliant
Bach Edition Vol. 14 – Cantatas Vol. 7 Nico van der Meel 2000 Period
Netherlands Bach Classics
Collegium Bas Ramselaar

John Eliot Gardiner Robin Tyson

J. S. Bach: Cantatas for the Feast of Monteverdi Choir Archiv
Paul Agnew 2000 Period
Purification of Mary English Baroque Produktion
Soloists Peter Harvey

Ton Koopman Bogna Bartosz

J. S. Bach: Complete Cantatas Vol. Amsterdam Antoine
Jörg Dürmüller 2001 Period
14 Baroque Orchestra Marchand
& Choir Klaus Mertens

Johann Sebastian Bach (1685–1750) Masaaki Suzuki Robin Blaze

/ Cantatas: Volume 32 (Cantatas from Bach Collegium Andreas Weller BIS 2005 Period
Leipzig, 1725)[46][47] Japan Peter Kooy

Pieter-Jan Belder Hana Blažíková

Bach in Context, Vol. 5 – Actus Gesualdo Consort Terry Wey
Etcetera 2014 Period
Tragicus[48] (OVPP) Charles Daniels
Musica Amphion Harry van der Kamp

Notes
a. "BWV" is Bach-Werke-Verzeichnis, a thematic catalogue of Bach's works.

References
1. Dellal 2012. 9. Dürr & Jones 2006, p. 75.
2. Dürr 1971, p. 540. 10. Dürr & Jones 2006, p. 94.
3. Hofmann 2006, p. 5. 11. Dürr & Jones 2006, p. 110.
4. Dürr & Jones 2006, pp. 262–265. 12. Dürr & Jones 2006, p. 237.
5. Dürr & Jones 2006, p. 402. 13. Dürr & Jones 2006, p. 707.
6. Dürr 1971, p. 561. 14. Dürr & Jones 2006, p. 217.
7. Dürr & Jones 2006, p. 676. 15. Dürr & Jones 2006, p. 24.
8. Dürr & Jones 2006, p. 601. 16. Hofmann 2006, p. 8.
17. Browne 2008. 33. Wolff 2001.
18. Hymnary 2016. 34. Dürr & Jones 2006, p. 660.
19. Braatz & Oron 2005. 35. Jones 2013, p. 155.
20. Tatlow 2000, p. 2. 36. Melamed 2010, p. 55.
21. Luther 1828. 37. Dürr 1971, p. 542.
22. Isoyama 1995, pp. 8,32. 38. D-LEb Thomana 125, Faszikel 1 2016.
23. Dürr & Jones 2006, p. 654. 39. D-B Mus. ms. Bach St 384, Faszikel 1 2016.
24. Hofmann 2006, p. 9. 40. D-B Mus. 11475/1 [Erstdruck 2017.
25. Dürr 1971, p. 541. 41. Breitkopf 2016.
26. Enßlin 2008, p. 4. 42. Carus 2016.
27. Bach digital 2016. 43. Oron 2015.
28. Dürr 1971, p. 539. 44. Muziekweb 2018.
29. Bischof 2010. 45. ArkivMusic 1998.
30. Grob 2014. 46. Barfoot 2006.
31. Dürr & Jones 2006, p. 657. 47. Freeman-Attwood 2006.
32. Dürr & Jones 2006, p. 675. 48. Riedstra 2016.

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"Mit Fried und Freud fahr ich dahin BWV 125; BC A 168 / Chorale cantata (Purification of theirgin
V Mary (2
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30 November 2016.
"Leipzig, Bach-Archiv Leipzig / D-LEb Thomana 125, Faszikel 1" . Bach digital website, managed byBach Archive,
SLUB, SBB and Leipzig University. 2016. Retrieved 30 November 2016.
"Berlin, Staatsbibliothek zu Berlin – Preußischer Kulturbesitz / D-B Mus. ms. Bach St 384, Faszikel .1"
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Dürr, Alfred; Jones, Richard D. P. (2006). The Cantatas of J. S. Bach: With Their Librettos in German-English
Parallel Text. Oxford University Press. ISBN 978-0-19-929776-4.
Jones, Richard D. P. (2013). The Creative Development of Johann Sebastian Bach, V olume II: 1717–1750: Music to
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2 February 2016.
Riedstra, Siebe (2016)."CD-recensie". opusklassiek.nl (in Dutch). Retrieved 29 January 2018.
Tatlow, Ruth (2000). "For the Feast of the Purification of Mary"(PDF). Bach Cantatas Website. Retrieved 29 January
2016.
Wolff, Christoph (2001). "Conclusion of the second yearly cycle (1724–25) of the Leipzig church cantatas" (PDF).
Bach Cantatas Website. Retrieved 2 February 2012.
"Berlin, Staatsbibliothek zu Berlin – Preußischer Kulturbesitz / D-B Mus. 11475/1 [Erstdruck]". Bach Digital, managed
by Bach Archive, SLUB, SBB and Leipzig University. Retrieved 20 March 2017.
"Cantata BWV 125 Mit Fried und Freud ich fahr dahin" . Breitkopf. Retrieved 3 December 2016.
"Johann Sebastian Bach / Mit Fried und Freud fahr ich dahin / Cantata for the Purification of Mary / BWV 125" .
Carus-Verlag. Retrieved 5 December 2016.
"Bach: Mit Fried Und Freud – Cantatas / Herreweghe, Et Al" . ArkivMusic. 1998. Retrieved 29 January 2018.
"Mit Fried' und Freud' ich fahr' dahin". hymnary.org. Retrieved 12 November 2014.
"Mit Fried' und Freud' ich fahr' dahin". muziekweb.nl (in Dutch). Retrieved 29 January 2018.

External links
Mit Fried und Freud ich fahr dahin, BWV 125: Scores at the International Music Score Library Project(IMSLP)
Hale, Roger. " "Gottes Zeit ist die allerbeste Zeit" (Actus Tragicus) / Bach Cantata BWV 106". citeseerx.ist.psu.edu.
Retrieved 3 December 2016.
Harbison, John; Smith, Craig (2012). "BWV 125 – Mit Fried und Freud ich fahr dahin" . Emmanuel Music. Retrieved
30 November 2016.
Mincham, Julian (2010)."Chapter 38 BWV 125, Mit Fried und Freud ich fahr dahin / I depart in peace and joy" .
jsbachcantatas.com. Retrieved 2 February 2012.
"Bach Cantata Vespers" (PDF). Grace Lutheran Church. 2015. p. 11. Archived fromthe original (PDF) on 1
December 2016. Retrieved 30 November 2016.
"BWV 125 Mit Fried und Freud ich fahr dahin" . University of Vermont. Retrieved 30 November 2016.
BWV 125.6 bach-chorales.com
Performed by Collegium Vocale Gent under the direction of Philippe Herrewegheyoutube.com

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