Johann Sebastian Bach worked in Weimar from 1708 to 1717. The composition of cantatas for the Schlosskirche (court chapel) on a regular monthly basis started with his promotion to Konzertmeister in March 1714.
From 1714 to 1717 Bach was commissioned to compose one church cantata a month. His goal was to compose a complete set of cantatas for the liturgical year within four years. In the course of almost four years there he thus covered most occasions of the liturgical year.
Uncertain purpose and date of origin:
New Year: Lobe den Herrn, meine Seele, BWV 143 (1709–1711? For Council Election? By Bach?)
The expression "Weimar cycle" has been used for the cantatas composed in Weimar from 1714 (which form the bulk of extant cantatas composed before Bach's Leipzig time).
Cantatas 54 and 199 were performed within the cycle but possibly composed earlier.
Annunciation (Mariae Verkündigung): Himmelskönig, sei willkommen, BWV 182 (performed on Palm Sunday 25 March 1714)
Jubilate (third Sunday after Easter): Weinen, Klagen, Sorgen, Zagen, BWV 12 (22 April 1714)
Pentecost: Erschallet, ihr Lieder, erklinget, ihr Saiten! BWV 172 (Weimar version in C major: 20 May 1714)
Third Sunday after Trinity: Ich hatte viel Bekümmernis, BWV 21 (C minor, Weimar: 17 June 1714; D minor, Köthen/Hamburg: 1720)
Oculi (Third Sunday of Lent): Widerstehe doch der Sünde, BWV 54 (4 March 1714?)
11th Sunday after Trinity: Mein Herze schwimmt im Blut, BWV 199 (12 August 1714: Weimar version in C minor; restaged in Köthen in a version in D minor)
First Sunday of Advent: Nun komm, der Heiden Heiland, BWV 61 (2 December 1714)
Christmas Christen, ätzet diesen Tag, BWV 63 (25 December 1714)
Sunday after Christmas: Tritt auf die Glaubensbahn, BWV 152 (30 December 1714)
Sexagesima (Second Sunday before Lent): Gleichwie der Regen und Schnee vom Himmel fällt, BWV 18 (early version in G minor, Chorton: 24 February 1715)
Oculi (Third Sunday of Lent): Alles, was von Gott geboren, BWV 80a (24 March 1715 or 15 March 1716; music lost)
Easter: Der Himmel lacht! Die Erde jubilieret, BWV 31 (Weimar version: 21 April 1715)
Cantate (fourth Sunday after Easter): Leb ich, oder leb ich nicht, BWV Anh. 191 (19 May 1715 – music lost, extant libretto by Salomon Franck published Weimar 1715)
Trinity: O heilges Geist- und Wasserbad, BWV 165 (16 June 1715)
Fourth Sunday after Trinity: Barmherziges Herze der ewigen Liebe, BWV 185 (14 July 1715)
20th Sunday after Trinity: Ach! ich sehe, itzt, da ich zur Hochzeit gehe, BWV 162 (25 October 1716 or possibly 3 November 1715)
23rd Sunday after Trinity: Nur jedem das Seine, BWV 163 (24 November 1715)
Fourth Sunday of Advent: Bereitet die Wege, bereitet die Bahn, BWV 132 (22 December 1715)
Second Sunday after Epiphany: Mein Gott, wie lang, ach lange? BWV 155 (19 January 1716)
16th Sunday after Trinity: Komm, du süße Todesstunde, BWV 161 (6 October 1715 or 27 September 1716)
Second Sunday of Advent: Wachet! betet! betet! wachet! BWV 70a (6 December 1716; in 1723 expanded to BWV 170 for Trinity XXVI)
Third Sunday of Advent: Ärgre dich, o Seele, nicht, BWV 186a (13 December 1716; in 1723 expanded to BWV 186 for Trinity VII)
Fourth Sunday of Advent: Herz und Mund und Tat und Leben, BWV 147a (20 December 1716; in 1723 expanded to BWV 147 for Visitation)
Passions performed in the Weimar period, however not considered to be passion cantatas, thus not generally listed in the Weimar (cantata) cycle:
"Keiser"'s St Mark Passion, version BC D 5a (early 1710s, with possibly a few movements added or arranged by Bach)
Weimarer Passion (26 March 1717, lost)
Bach composed the first version of his secular cantata Was mir behagt, ist nur die muntre Jagd, BWV 208 (Hunting Cantata) for performance on 23 February 1713.
