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Unser Mund sei voll Lachens
BWV 110
by J. S. Bach
17th-century painting of the Annunciation to the shepherds, showing an angel with outstretched arms and wings, flying before a lozenge of light in a dark sky, above a nativity scene with a stable
Annunciation to the Shepherds, topic of the fifth movement
Related
OccasionFirst Day of Christmas
Cantata textGeorg Christian Lehms
Bible text
Chorale"Wir Christenleut"
by Kaspar Füger
Performed25 December 1725 (1725-12-25): Leipzig
Movements7
VocalSATB choir and solo
Instrumental
  • 3 trumpets
  • timpani
  • 2 flauti traversi
  • 3 oboes (oboe d'amore, oboe da caccia)
  • bassoon
  • 2 violins
  • viola
  • continuo

Unser Mund sei voll Lachens ('May our mouth be full of laughter'),[1] BWV 110, is a church cantata by Johann Sebastian Bach. He composed the Christmas cantata in Leipzig for Christmas Day and first performed it on 25 December 1725.

When Bach wrote the music, he was in his third year as Thomaskantor, church music director of Leipzig. He used an earlier text published in 1711 by Georg Christian Lehms, which has no pairs of recitative and arias, as common in Baroque opera and contemporary Bach cantatas, but features in an older style three biblical quotations alternating with arias: verses from Psalm 126, a verse from the Book of Jeremiah about God's greatness, and the angels' song from the Nativity according to the Gospel of Luke. The closing chorale is from Kaspar Füger's hymn "Wir Christenleut".

Bach composed a work in seven movements and scored it festively for four vocal soloists, a four-part choir and a Baroque instrumental ensemble with trumpets and timpani, flutes and different kinds of oboes. The outer movements are given to the choir and the full orchestra while the inner movements are chamber music for solo voices and solo instruments. Bach derived the first chorus, in the style of a French overture, from the overture to his fourth Orchestral Suite, embedding vocal parts in its fast middle section, which make the laughter audible which is mentioned in the psalm verse. The song of the angels is based on the Christmas interpolation Virga Jesse Floruit of his Magnificat in E-flat major, BWV 243a. He chose obbligato instruments to differentiate the character of the three arias: two flutes with the tenor expressing the "lowly birth",[2] oboe d'amore with the alto, representing God's love, and trumpet, oboes and strings with the bass for his call to sing songs of joy together. Bach led the Thomanerchor in the first performances on Christmas Day in two Leipzig churches.

History

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Background

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Bach was appointed Thomaskantor (director of church music) in 1723 in Leipzig. There he was responsible for the music at four churches, and the training and education of the boys singing in the Thomanerchor (the boys' choir in Leipzig). He took office on 30 May 1723, the first Sunday after Trinity.[3] In the new position, Bach decided to compose church cantatas for almost all liturgical events for the first twelve months; they became his first cantata cycle.[4] These were for Sundays and feast days of the Christian liturgical year, except for the "silent times" of Advent (before Christmas) and Lent (before Easter), including feasts of saints, of Mary, and several days of celebrating the high holidays. The following year, Bach went on to write a second cantata cycle, now basing each on a Lutheran hymn.[5] In his book Johann Sebastian Bach: The Learned Musician, Christoph Wolff described the endeavour as "a most promising project of great homogeneity, whose scope he was able to define himself".[5]

In 1725, his third year in the post, Bach slowed down and began to perform cantatas by other composers.[6][7] Until Christmas, cantatas from that year are only extant for four occasions, three Sundays and Reformation Day on 31 October.[8] He was thus able to use the month of November to prepare the cantatas for the Christmas season, and could still take a vacation during Advent, together with his wife, Anna Magdalena, to perform a birthday cantata at the Köthen court where he had worked previously. He seems to have planned to set a complete liturgical year with texts from a cycle of cantata texts by Georg Christian Lehms.[9]

Christmas

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When Bach worked in Leipzig, Christmas, as also Easter and Pentecost, were celebrated for three days, each day requiring festive music for church services. On the first day, the cantata was performed in the morning at the Nikolaikirche, and in the afternoon in a vespers service at the Thomaskirche. On the second day, a different cantata was performed in the morning at the Thomaskirche and in the afternoon in the Nikolaikirche. On the third day, a third cantata was performed only in the morning in one of the churches. As Bach was also required to serve the Paulinerkirche of the university, a third performance there of the cantata for the first day in the late morning is possible.[10]

In 1723 Bach had composed no new Christmas Day cantata, but revived Christen, ätzet diesen Tag, BWV 63, a work dating back possibly to 1713 and setting a text of free poetry without any biblical text or chorale. He composed new works for the second and third feast day that year. In his second year, he composed three chorale cantatas for the three feast days, beginning with Gelobet seist du, Jesu Christ, BWV 91.[11]

18th-century, copper-engraved, formal portrait of a man with a long, bouffant, curly wig. He turns towards the viewer, holding a voluminous coat with an elegantly long-fingered left hand. His name and position appear underneath.
Georg Christian Lehms, the librettist

In 1725, Bach composed cantatas for all six occasions of the Christmas season,[8][12] utilising texts by Lehms.[9] The librettist was librarian and court poet in Darmstadt. He published a collection of Andachten (devotions) for the occasions of the liturgical year in 1711, entitled Gottgefälliges Kirchen-Opffer (Church offering pleasing to God).[9][10] It is a double annual cycle, providing for all Sundays and church feast days devotions for both the mornings and afternoons.[10] The morning devotions contain biblical quotations, arias and chorales, while the afternoon devotions consist of arias and recitatives.[7][10] Bach set nine texts from the afternoon cycle, some of those already while he worked for the Weimar court, while Unser Mund sei voll Lachens is his only cantata text from the morning cycle.[7]

The six Christmas cantatas for the 1725/26 Christmas season up to Epiohany have more unified texts than the cantatas in the two previous years. Bach handwriting in the autographs, of which five are extant, looks less hurried than for the earlier works for the season. The six cantatas have been called "the other Christmas Oratorio", comparing to Bach's Christmas Oratorio for the 1734/35 season.[9]

Text

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The prescribed readings for Christmas Day were from the Epistle of Titus, "God's mercy appeared" (Titus 2:11–14) or from the Book of Isaiah, "Unto us a child is born" (Isaiah 9:2–7), and from the Gospel of Luke, the Nativity, annunciation to the shepherds and the angels' song (Luke 2:1–14).[13][14]

The librettist began this text with a quotation of two verses from Psalm 126, which deals with the hope for the delivery of the Israelites from Babylonian captivity, beginning: "When the Lord turned again the captivity of Zion, we were like them that dream."; he ignored the context and only used the joyful reaction (Psalms 126:2–3).[11] The musicologist Walther Vetter assumed in his 1950 book Der Kapellmeister Bach that the change of the Bible wording from conditional to unconditional joy was Bach's intention and work.[15]

The poet included for a recitative a verse from the Book of Jeremiah, praising God's greatness (Jeremiah 10:6), and he quoted from the Christmas story the singing of the angels (Luke 2:14).[11] Each of the three biblical quotations is followed by an aria; the second reflects a thought from Psalm 8:4, "What is man, that thou art mindful of him? and the son of man, that thou visitest him?". The closing chorale is the fifth stanza of Caspar Füger's hymn "Wir Christenleut" (We Christian people).[11][10][16]

Performances

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Bach led the Thomanerchor in the first performance in the morning of Christmas Day in the Nikolaikirche, and repeated it in a vespers service at the Thomaskirche.[13][12] He led at least one more performance between 1728 and 1731.[13][17]

Music

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Structure and scoring

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Bach structured the cantata in seven movements. The outer movements, opening chorus and closing chorale, are sung by the choir, and frame a sequence of arias, a recitative and a duet. The work is scored for four vocal soloists (soprano (S), alto (A), tenor (T), bass (B)), a four-part choir and a festive Baroque instrumental ensemble of three trumpets and timpani (Ti), two flauti traversi (Ft), three oboes (Ob) (also oboe d'amore (Oa) and oboe da caccia (Oc)), two violins (Vl), viola (Va), and basso continuo including bassoon (Fg).[13][12][18] The heading of the original parts reads: "J.J. Feria 1 Nativitatis Xsti. Concerto. a 3 Trombe, Tamburi. 3 Hautb. / Baßon. 2 Violini e Viola, 4 Voci è Continuo.", which means "Jesus help. First feast day of the birth of Christ. Concerto for 3 trumpets, timpani, 3 oboes, bassoon, 2 violins and viola, 4 voices and continuo".[19] The duration is given as 27 minutes.[1]

In the following table, the scoring follows the Neue Bach-Ausgabe. The keys and time signatures are taken from Alfred Dürr's Die Kantaten von Johann Sebastian Bach using the symbols for common time (4/4) and alla breve (2/2).[18] The continuo, playing throughout, is not shown.

Movements of Unser Mund sei voll Lachens
No. Title Text Type Vocal Winds Strings Key Time
1 Unser Mund sei voll Lachens Psalm Chorus SATB 3Tr Ti 2Ft 3Ob Fg 2Vl Va D major
  • cut time
  • 9
    8
  • common time
2 Ihr Gedanken und ihr Sinnen Lehms Aria T 2Ft Fg B minor common time
3 Dir, Herr, ist niemand gleich Jeremiah Recitative B 2Vl Va common time
4 Ach Herr! was ist ein Menschenkind Lehms Aria A Oa F-sharp minor 3
4
5 Ehre sei Gott in der Höhe Luke Aria (Duet) S T A major 12
8
6 Wacht auf, ihr Adern und ihr Glieder Lehms Aria B Tr 2Ob Oc 2Vl Va D major common time
7 Alleluja! Gelobt sei Gott Füger Chorale SATB Tr 2Ft 2Ob Oc Fg 2Vl Va B minor common time

Movements

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Performers: Pforzheim Chamber Orchestra (with Adolf Scherbaum (trumpet)),
Windsbacher Knabenchor,
Herrad Wehrung (soprano),
Emmy Lisken (alto),
Georg Jelden (tenor),
Jakob Stämpfli (bass),
Hans Thamm (conductor), July 1961

Between 1723 and 1725, Bach set mostly contemporary poetry to music in most of the cantatas of his first two cycles, and often composed pairs of recitative and aria, a common practice in Baroque opera.[11] The text for Unser Mund sei voll Lachens is in an older format, with biblical texts alternating with arias. Bach followed it, using different musical forms for the biblical quotations: the opening chorus on psalm verses is an adaptation of his overture to his fourth Orchestral Suite in D major, BWV 1069. The duet "Ehre sei Gott in der Höhe" is based on the Christmas interpolation Virga Jesse floruit from his 1723 Magnificat, first performed for his first Christmas in Leipzig.[20]

1

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The opening chorus "Unser Mund sei voll Lachens" (May our mouth be full of laughter) calls for all instruments to perform.[21] The text "concludes with acknowledgement that the Lord has achieved great things for his people".[22] Bach chose the form of a French overture, often played upon the arrival of the king to a performance, which seemed suitable to greet the King of Heaven.[12] He used a French overture in five other cantatas, all for festive occasions: Nun komm, der Heiden Heiland, BWV 61, written in 1714 for the first Sunday in Advent, Preise, Jerusalem, den Herrn, BWV 119, written in 1723 for the inauguration of the Leipzig town council, Höchsterwünschtes Freudenfest, BWV 194, written for consecretation of organ and church in Störmthal in November 1723, O Ewigkeit, du Donnerwort, BWV 20, written in 1724 for the first Sunday after Trinity and thus beginning Bach's second cantata cycle, and the 1734 cantata for general use In allen meinen Taten, BWV 97.[23]

Bach based the music on the overture to an early version of his fourth Orchestral Suite,[2][13][12][24] Bach's authorship of this Suite was doubted until the cantata was rediscovered in 1876. The early version probably had no trumpets, timpani and a third oboe. Bach added these instruments for the celebratory Christmas occasion and retained them for the final 1730 version of the suite.[25] He also added flutes to the cantata[12] and embedded the voices in the fast middle section.[2]

According to Dürr, the laughter mentioned in the text is "made quite graphically audible" in this middle section.[2] In program notes for the Bach Choir of Bethlehem, Carol Traupman-Carr wrote that "when the voices enter, there is a clear sense of laughter in Bach's setting. We can see how easily [he] achieves this: each of the voices enters in imitation with the same text, but eventually all arrive simultaneously on a syllable with an "a" vowel. Bach writes numerous melismas on this "ah" sound, and with the lilting rhythm, the sound of laughter is genuinely achieved."[26]

\header { tagline = ##f } \paper { ragged-right = ##t } \layout { indent = 0 \context { \Score \remove "Bar_number_engraver" } } global = { \key d \major \time 3/4 \tupletUp } soprano = \relative c'' { \global \set midiInstrument = "violin" \tuplet 3/2 4 { d8 (b cis d e cis d cis b | cis a b c d b c b a } | b4) e,8 } alto = \relative c'' { \global \set midiInstrument = "viola" \tuplet 3/2 4 { e,8 (gis a b cis a b cis d } | cis8. e,16 \tuplet 3/2 4 { a8 b g! a b c } | b8.) b,16\noBeam } tenor = \relative c' { \global \set midiInstrument = "cello" \tuplet 3/2 { b8 \(d cis } b r e r | \tuplet 3/2 { a, cis b } a r d r | g\) r8 } bass = \relative c' { \global \set midiInstrument = "cello" \tuplet 3/2 4 { gis8 (b a gis fis e } e'8. gis,16 | a8. g!16 \tuplet 3/2 { fis8 e d } d'8. fis,16 | g8.) d16\noBeam } sopranoVerse = \lyricmode { La -- chens, } altoVerse = \lyricmode { (La) -- chens, } tenorVerse = \lyricmode { La -- "" -- "" -- "" -- "" -- "" -- "" -- "" -- "" -- "" -- ""} \score { \new ChoirStaff << \new Staff \soprano \addlyrics \sopranoVerse \new Staff \alto \addlyrics \altoVerse \new Staff { \clef "treble_8" \tenor } \addlyrics \tenorVerse \new Staff { \clef bass \bass } \addlyrics \sopranoVerse >> \layout { } \midi { \tempo 4=100 \context { \Score midiChannelMapping = #'instrument } \context { \Staff \remove "Staff_performer" } \context { \Voice \consists "Staff_performer" } } }

Vetter wrote about this movement in 1950, at a time when Bach's parody methods were still seen critically, that the parody was not an easy way to reuse music also suitable for Christmas, but that Bach rounded off the orchestral work, giving it a fuller meaning through the vocal parts, not just by adding text but through the substance of the choral setting. Vetter concluded: "The solidity of Bach's musicianship, the depth and sharpness of his mind, the absolute naturalness of his faith, averse to all speculation, enable a combination of sacred and secular works that cannot be offensive to either the unprejudiced pious or the unbiased musical person."[15]

Bach added ripieno parts in later performances to accentuate the vocals and achieve even greater variety in the concerto.[2][27] According to Jos van Veldhoven, the conductor of the Netherlands Bach Society, the score is one of few where Bach marked ripieno himself, whic he may have used without marking it more often.[27][27] John Eliot Gardiner, who conducted the Bach Cantata Pilgrimage in 2000, notes the first movement's "marvellous rendition of laughter-in-music" and "innate elegance and lightness of touch".[21]

2

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"Ihr Gedanken und ihr Sinnen" (You thoughts and musings)[28] is a tenor aria accompanied by two transverse flutes. Dürr interprets the choice of flute as a symbol for the "lowly birth".[2][12] The text reflects that by God's assumption of human life, believers are made "children of heaven" in spite of "hell and Satan".[12] The meditative music is interwoven with flute motifs.[12]

3

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The bass recitative "Dir, Herr, ist niemand gleich" (There is no one like You, Lord),[28] is taken from Jeremiah and accompanied by strings which add "upward-pointing gestures" to the expressive line of the bass voice.[20] They have been interpreted as alluding to God.[7]

4

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"Ach Herr, was ist ein Menschenkind" (Ah, Lord, what is a human being)[28] is an alto aria accompanied by a solo oboe d'amore.[12][22] It is in two parts; the first deals with the idea of man in a sinful condition, while the second reflects redemption.[2][7] The key changes to major, with new musical material. Alluding to a da capo aria, the instrumental beginning of the movement is repeated.[7]

The Bach scholar Klaus Hofmann and Veldhoven both relate the choice of the oboe d'amore to the essential answer to the singer's question "Why do you do all this for man?": "Aus Liebe" (through love).[12][27] Writing for the Bach Choir of Bethlehem, Carol Traupman-Carr observed that this text phrase and the combination of a woman's voice with oboes d'amore occurs in the aria "Aus Liebe will mein Heiland sterben" from Bach's St Matthew Passion, concluding that "Bach seems very much to like the oboe d'amore with the solo female voice, perhaps because of the intimate, warm sound they produce in combination".[26]

5

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The duet "Ehre sei Gott in der Höhe" (Glory to God in the highest), combines two high voices over a simple continuo accompaniment, singing of God's glory in the highest and peace on Earth.[28][22] The music is based on the Virga Jesse floruit ('The branch of Jesse flowered') from Bach's Magnificat.[13][2] Bach changed the vocal lines to suit the different text but retained the "essentially lyrical character".[2] Wolff notes that Bach treated the beginning ('in the highest') differently from the following part 'on Earth', as he would, when setting the same text in Latin in the Gloria of his Mass in B minor change from a triple metre for the heavenly sphere to common time for the earthly part.[29] Gardiner writes that "goodwill towards men" is expressed in pastoral style, with the voices in parallels of tenths.[21] Melismas that stood for flowering in the model, express jubilation in the cantata.[7]

The text, which has often been set to music with trumpets and drums, appears here in a chamber music setting matching the previous inner movements.[12]

6

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The bass aria "Wacht auf, ihr Adern und ihr Glieder" (Awaken, veins and limbs),[28] is a final call to wake up and join the praise of the angels. Trumpet and oboe add to the musical energy. The oboes double the strings or rest, for more dynamic effect. Virtuoso passages in the trumpet are reminiscent of the first movement,[2] returning to that movemen's celebratory mood.[24] The first triad call of the trumpet is of martial character, and imitated by the voice. When the text refers to the strings, the winds rest.[2] The aria is of similar character as "Großer Herr, o starker König" (Mighty Lord and Great King) from Part I of Bach's 1734 Christmas Oratorio.[12][24]

7

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The closing chorale "Alleluja! Gelobt sei Gott" (Alleluia! Praise be to God) is a four-part setting of the tune by an anonymous composer.[2][28][30][31] Bach later set the same tune again as "Seid froh, dieweil" (Be glad, therefore), to close Part III of his Christmas Oratorio.[22]

Manuscripts and publication

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The manuscripts of both the score and parts survive.[7] Some Bach scholars believed that the cantata was written in 1734 for the end of the War of the Polish Succession,[26] but the discovery of the printed text for that event showed that it was not related.[11]

The first critical edition of the cantata, edited by Wilhelm Rust, was published by the Bach Gesellschaft in 1876 as part of its complete edition of Bach's works. In the Neue Bach-Ausgabe, the second edition of Bach's works, the cantata was published in 1957, edited by Dürr.[7][13]

Carus published a critical edition in German and English as part of its Stuttgarter Bach-Ausgaben in 2017, edited by Karin Wollschläger.[32] In the 21st century, Bach Digital published high-resolution facsimile images of the manuscript parts from the first quarter of the 18th century.[13]

Recordings

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Further information: Bach cantata § Later performances and recordings

Unser Mund sei voll Lachens has mainly been recorded within cycles of Bach's church cantatas. Fritz Werner and the Heinrich-Schütz-Chor Heilbronn 1961 recording was as part of a series of more than 50 of Bach's works.[33] The Windsbacher Knabenchor, a boys' choir similar to the Thomanerchor that Bach had in mind, recorded the work in 1961, and released it with Wer Dank opfert, der preiset mich, BWV 17.[34]

A complete cycle undertaken by Nikolaus Harnoncourt and Gustav Leonhardt was the first to follow the principles of historically informed performance, using period instruments and playing techniques, and boys for the upper voices. This project, J. S. Bach – Das Kantatenwerk, recorded the cantata in 1979 with Harnoncourt conducting. A second cycle was conducted around the same time by Helmuth Rilling and the Gächinger Kantorei, with traditional instruments and women singing solo and in the choir, recording the cantata in 1974.[35]

conductor John Eliot Gardiner in rehearsal, looking to the left
John Eliot Gardiner, who conducted the Bach Cantata Pilgrimage, in 2007

Gardiner conducted the Bach Cantata Pilgrimage in 2000, performing Bach's cantatas on the liturgical day they were written for in churches throughout Europe and New York City;[36] he chose this cantata to end one of three Christmas concerts concluding the endeavour of a full year.[21] A review from The Guardian of its recording at St. Bartholomew's Church noted: "They are perhaps the most exhilarating performances to be issued so far in Gardiner's cantata edition: bracing, joyous, always superbly sung and played."[37] Masaaki Suzuki recorded it in his cycle with the Bach Collegium Japan in 2009, together with the other two works for Christmas 1725. The music critic Peter Bright acknowledged a consistently sublime performance in movements of chamber music character throughout their cycle, but missed "an element of excitement and enthusiasm" in the opening movement.[24] Jos van Veldhoven and Netherlands Bach Society combined the cantata, within their project to record all his church cantatas by Bach, with Bach's Magnificat in 2010. A reviewer described the first movement as "one of Bach’s signature infectious, exuberant, extended choruses" and noted the transparent sound with good structure and balance even in full orchestral passages and beautiful instrumental solos.[38]

The following table is a selection from Bach Cantatas website, where 33 recordings are listed as of 2025.[17] Instrumental groups playing period instruments in historically informed performances are marked by green background under the header "Instr.".

Recordings of Unser Mund sei voll Lachens
Title Conductor / Choir / Orchestra Soloists Label Year Instr.
J. S. Bach: Kantaten BWV 21, 110 (Ramin Edition Vol. 1) Günther Ramin
Thomanerchor
Gewandhausorchester
Fidelio 1947 (1947)
J. S. Bach: Kantate 110 und 17[34] Hans Thamm
Windsbacher Knabenchor
Pforzheim Chamber Orchestra
Cantate 1961 (1961)
Les Grandes Cantates de J. S. Bach Vol. 11[33] Fritz Werner
Heinrich-Schütz-Chor Heilbronn
Pforzheim Chamber Orchestra
Erato 1961 (1961)
J. S. Bach: Cantata BWV 110 & Magnificat BWV 243 Gerhard Schmidt-Gaden
Tölzer Knabenchor
Collegium Aureum
Deutsche Harmonia Mundi 1972 (1972)
Die Bach Kantate Vol. 62[35] Helmuth Rilling
Gächinger Kantorei
Bach-Collegium Stuttgart
Hänssler 1974 (1974)
J. S. Bach: Das Kantatenwerk • Complete Cantatas • Les Cantates, Folge / Vol. 27 – BWV 107-110 Nikolaus Harnoncourt
Tölzer Knabenchor
Concentus Musicus Wien
Teldec 1979 (1979) Period
Bach Kantaten BWV 110, BWV 40, BWV 71 Hans-Joachim Rotzsch
Thomanerchor
Neues Bachisches Collegium Musicum
Berlin Classics 1982 (1982)
J. S. Bach: Cantates de Nöel Philippe Herreweghe
Collegium Vocale Gent
Harmonia Mundi France 1995 (1995) Period
Bach Cantatas Vol. 14: New York / Christmas Cantatas John Eliot Gardiner
Monteverdi Choir
English Baroque Soloists
Soli Deo Gloria 2000 (2000) Period
Bach Edition Vol. 14 – Cantatas Vol. 7 Pieter Jan Leusink
Holland Boys Choir
Netherlands Bach Collegium
Brilliant Classics 2000 (2000) Period
J. S. Bach: Complete Cantatas Vol. 15 Ton Koopman
Amsterdam Baroque Orchestra & Choir
Antoine Marchand 2001 (2001) Period
J. S. Bach: Cantatas Vol. 43 – BWV 57, 110, 151[24] Masaaki Suzuki
Bach Collegium Japan
BIS 2008 (2008) Period
J. S. Bach: Kantate BWV 110 "Unser Mund sei voll Lachens" Rudolf Lutz
Vocal ensemble of Schola Seconda Pratica
Schola Seconda Pratica
Gallus Media 2012 (2012) Period
J. S. Bach: Magnificat, Unser Mund sei voll Lachens[38] Jos van Veldhoven
Netherlands Bach Society
Channel Classics Records 2010 (2010) Period

References

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  1. ^ a b Dürr & Jones 2006, p. 97.
  2. ^ a b c d e f g h i j k l Dürr & Jones 2006, p. 99.
  3. ^ Wolff 2002, p. 253.
  4. ^ Wolff 2002, pp. 253–254.
  5. ^ a b Wolff 2002, p. 275.
  6. ^ Dürr & Jones 2006, p. 36.
  7. ^ a b c d e f g h i Wollschläger 2017.
  8. ^ a b Wolff 2002, p. 281.
  9. ^ a b c d Villa Musica 2022.
  10. ^ a b c d e Schulze 2024.
  11. ^ a b c d e f Dürr & Jones 2006, p. 98.
  12. ^ a b c d e f g h i j k l m Hofmann 2012.
  13. ^ a b c d e f g h Bach Digital 2025.
  14. ^ Dürr & Jones 2006, p. 91.
  15. ^ a b Vetter 1950.
  16. ^ Browne 2005.
  17. ^ a b Oron 2015.
  18. ^ a b Dürr & Jones 2006, pp. 97–98.
  19. ^ Grob 2014.
  20. ^ a b Dürr & Jones 2006.
  21. ^ a b c d Gardiner 2005.
  22. ^ a b c d Eriksson 2006.
  23. ^ Johnson 2010.
  24. ^ a b c d e Bright 2009.
  25. ^ Pearlman 1995.
  26. ^ a b c Traupman-Carr 2006.
  27. ^ a b c d Netherlands Bach Society 2025.
  28. ^ a b c d e f Dellal 2025.
  29. ^ Wolff 2021.
  30. ^ Dahn 2025.
  31. ^ Braatz & Oron 2005.
  32. ^ Wollschläger 2017, p. 1.
  33. ^ a b Quinn 2004.
  34. ^ a b Bach Cantatas 2023.
  35. ^ a b McElhearn 2002.
  36. ^ Monteverdi Choir 2025.
  37. ^ Clements 2005.
  38. ^ a b Lange 2010.

Sources

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Bach Digital

[edit]
  • "Unser Mund sei voll Lachens BWV 110; BC A 10". Bach Digital. 2025. Retrieved 2 September 2025.

Sources by author

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Other sources

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