Am Abend aber desselbigen Sabbats, BWV 42

{{Short description|Church cantata by Johann Sebastian Bach for the First Sunday after Easter}} {{good article}} {{Use British English|date=January 2026}} {{Infobox Bach composition | name = {{lang|de|Am Abend aber desselbigen Sabbats}} | bwv = 42 | type = Church cantata | image = Der ungläubige Thomas - Michelangelo Merisi, named Caravaggio.jpg | caption = ''The Incredulity of Saint Thomas'' by Caravaggio, 1601–02 | occasion = Sunday after Easter | performed = {{Timeline-event|date={{Start date|1725|04|8|df=y}}|location=Leipzig}} | movements = 7 | bible = {{Sourcetext|source=Bible|version=King James|book=John|chapter=20|verse=19|range=–31}} | chorale = {{plainlist| * by Jakob Fabricius * by Martin Luther }} | vocal = {{abbr|SATB|soprano, alto, tenor and bass}} solo and choir | instrumental = {{hlist | 2 oboes | bassoon | 2 violins | viola | continuo }} }} '''{{lang|de|Am Abend aber desselbigen Sabbats}}''' (On the evening, however, of the same Sabbath),{{sfn|Dellal|2025}} '''{{abbr|BWV|Bach-Werke-Verzeichnis (catalogue of Bach's works)}}{{nbsp}}42''', is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for the first Sunday after Easter and first performed it on 8 April 1725. The cantata is part of Bach's second cantata cycle during his tenure as {{langr|de|Thomaskantor}} that began in 1723. It is the only cantata of that cycle to begin with a sinfonia.

An unknown librettist began the text with a verse from the Gospel reading, from the Resurrection appearances of Jesus in Jerusalem, and included three hymn stanzas: one from "{{langr|de|Verzage nicht, o Häuflein klein}}" by Jakob Fabricius and two from Luther's "{{langr|de|Erhalt uns, Herr, bei deinem Wort}}". Bach structured the cantata in seven movements and scored it for four vocal soloists, a four-part choir only in the closing chorale, and a Baroque instrumental ensemble of two oboes, bassoon, strings and basso continuo.

== History == === Background === Bach was appointed {{langr|de|Thomaskantor}} (director of church music) in Leipzig in 1723, responsible for the music at four churches of the city, and for the training and education of the boys singing in the {{langr|de|Thomanerchor}} boys' choir.{{sfn|Wolff|2002|pp=[https://books.google.de/books?id=NHpL3cQg0_UC&pg=PA253 253–254]}} He took office on 30 May 1723.{{sfn|Wolff|2002|p=[https://books.google.de/books?id=NHpL3cQg0_UC&pg=PA253 268–268]}} 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.{{sfn|Wolff|2002|pp=[https://books.google.de/books?id=NHpL3cQg0_UC&pg=PA254 254]}} The following year, Bach went on to write a second cantata cycle, now basing each on a Lutheran hymn.{{sfn|Wolff|2002|p=[https://books.google.de/books?id=NHpL3cQg0_UC&pg=PA275 275]}} He kept the format until Palm Sunday 1725, when he performed ''Wie schön leuchtet der Morgenstern'', BWV 1. He then returned to the former style of church cantatas for Easter and the following occasions,{{sfn|Wolff|2002|p=[https://books.google.de/books?id=NHpL3cQg0_UC&pg=PA279 279]}} possibly because he lost his librettist.{{sfn|Wolff|2002|p=[https://books.google.de/books?id=NHpL3cQg0_UC&pg=PA280 280]}}

=== Readings and text === Bach composed {{lang|de|Am Abend aber desselbigen Sabbats}} in Leipzig for the First Sunday after Easter,{{sfn|''Bach Digital''|2025}} called Quasimodogeniti.{{sfn|Dürr|Jones|2006|p=291}}{{sfn|Loy|2013}}

The prescribed readings for the Sunday were from the First Epistle of John, "our faith is the victory" ({{Sourcetext|source=Bible|version=King James|book=1 John|chapter=5|verse=4|range=–10}}), and from the Gospel of John, the appearance of Jesus to the Disciples in Jerusalem, first without Thomas, and later with him ({{Sourcetext|source=Bible|version=King James|book=John|chapter=20|verse=19|range=–31}}).{{sfn|''Bach Digital''|2025}}{{sfn|Dürr|Jones|2006|p=291}} The unknown librettist included for the beginning of the cantata verse 19 from the Gospel and used three stanzas from two chorales. The text of the fourth movement is a stanza from "{{langr|de|Verzage nicht, o Häuflein klein}}", published in 1632 by {{ill|Jakob Fabricius (theologian)|de|Jakob Fabricius (Theologe)|lt=Jakob Fabricius}}, which had also been attributed to Johann Michael Altenburg. The cantata is closed by two stanzas which had appeared added to Luther's "{{langr|de|Erhalt uns, Herr, bei deinem Wort}}": "{{langr|de|Verleih uns Frieden gnädiglich}}", Luther's German version of {{langr|la|Da pacem Domine}} (Give peace, Lord, 1531), and "{{langr|de|Gib unsern Fürsten und all'r Obrigkeit}}" (Give our rulers and all lawgivers), a stanza by Johann Walter paraphrasing {{Sourcetext|source=Bible|version=King James|book=1 Timothy|chapter=2|verse=2}} (1566), which is concluded with a final amen.{{sfn|Dürr|Jones|2006|p=297}} Werner Neumann suggested that Bach himself may have been the anonymous poet, while Charles Sanford Terry proposed Christian Weiss, a pastor in Leipzig.{{sfn|Loy|2013}}{{sfn|Wustmann|Neumann|1956}} Bach scholar Alfred Dürr supposed that it was the same author who wrote {{lang|de|''Bleib bei uns, denn es will Abend werden'', BWV 6|italic=unset}}, first performed six days earlier on Easter Monday of 1725.{{sfn|Dürr|Jones|2006|p=296}}

After the quote from the Gospel of John, the poet paraphrased, in movement 3, words of Jesus from the Gospel of Matthew, {{Sourcetext|source=Bible|version=King James|book=Matthew|chapter=18|verse=20}}: "{{langr|de|Wo zwei oder drei versammelt sind in meinem Namen, da bin ich mitten unter ihnen}}" (For where two or three are gathered together in my name, there am I in the midst of them).{{sfn|Loy|2013}}

=== Performances === Bach led the Thomanerchor in the first performance of the cantata on 8 April 1725.{{sfn|Dürr|Jones|2006|p=296}} He performed it again at least twice, on 1 April 1731, as a printed textbook shows, and {{circa}} 1742, per watermarks in an instrumental part.{{sfn|Loy|2013}}{{sfn|''Bach Digital''|2025}}

== Music == === Structure and scoring === Bach structured the cantata in seven movements, beginning with a Sinfonia. He may have intended to ease work for the choir after the busy holiday week.{{sfn|Loy|2013}} He scored the work for four vocal soloists (soprano (S), alto (A), tenor (T) and bass (B)), a four-part choir only in the closing chorale, and a Baroque instrumental ensemble of two oboes (Ob), bassoon (Fg), two violins (Vl), viola (Va), cello (Vc) and basso continuo (Bc).{{sfn|Dürr|Jones|2006|pp=295–296}}{{sfn|Loy|2013}} The duration of the cantata is given as 33 minutes.{{sfn|Dürr|Jones|2006|p=295}}

In the following table of the movements, the scoring, keys and time signatures are taken from Dürr's standard work ''Die Kantaten von Johann Sebastian Bach''.{{sfn|Dürr|Jones|2006|pp=295–296}} The continuo, which plays throughout, is not shown.

{{Classical movement header | show_text_source = no | work = {{lang|de|Am Abend aber desselbigen Sabbats}} | instruments1 = Winds | instruments2 = Strings}} {{Classical movement row | number = 1 | title = | type = Sinfonia | vocal = | instruments1 = 2Ob, Fg | instruments2 = 2Vl, Va | key = D major | time = {{music|common-time}} }} {{Classical movement row | number = 2 | title = {{langr|de|Am Abend aber desselbigen Sabbats}} | type = Recitative | vocal = T | instruments1 = Fg | instruments2 = Bc | key = | time = {{music|common-time}} }} {{Classical movement row | number = 3 | title = {{langr|de|Wo zwei und drei versammlet sind}} | type = Aria | vocal = A | instruments1 = 2Ob, Fg | instruments2 = 2Vl, Va | key = G major | time = {{music|common-time}} }} {{Classical movement row | number = 4 | title = {{langr|de|Verzage nicht, o Häuflein klein}} | type = Duet | vocal = S T | instruments1 = Fg | instruments2 = Vc | key = B minor | time = {{music|time|3|4}} }} {{Classical movement row | number = 5 | title = {{langr|de|Man kann hiervon ein schön Exempel sehen}} | type = Recitative | vocal = B | instruments1 = Fg | instruments2 = | key = | time = {{music|common-time}} }} {{Classical movement row | number = 6 | title = {{langr|de|Jesus ist ein Schild der Seinen}} | type = Aria | vocal = B | instruments1 = | instruments2 = 2Vl Bc | key = A major | time = {{music|cut-time}} }} {{Classical movement row | number = 7 | title = {{langr|de|Verleih uns Frieden gnädiglich}} | type = Chorale | vocal = SATB | instruments1 = 2Ob Fg | instruments2 = 2Vl Va | key = F♯ minor | time = {{music|cut-time}} }} {{End}}

=== Movements === ==== 1 ==== Bach possibly took the opening sinfonia from earlier music.{{sfn|Loy|2013}} According to John Eliot Gardiner, this movement and the first aria are both taken from Bach's lost congratulatory cantata {{lang|de|''Der Himmel dacht auf Anhalts Ruhm und Glück'', BWV 66a|italic=unset}}, celebrating the 24th birthday of Leopold, Prince of Anhalt-Köthen, on 10 December 1718.{{sfn|Gardiner|2007}} Dürr believed that it is a movement from a concerto.{{sfn|Dürr|Jones|2006|p=296}} It does not highlight a particular solo instrument, although Julian Mincham saw a close resemblance to concerti which do, such as the opening movements of the Violin Concerto in E major, BWV 1042, and the Harpsichord Concerto, BWV 1053.{{sfn|Mincham|2010}} Rather, it is a type of concerto grosso (or "concerto a due cori", concerto for two choirs), the strings interacting with a concertino of the woodwinds, oboes and bassoon. The two groups first introduce their own lively themes, which are distinct but related to each other. They then exchange their themes and play together. The middle section begins with a surprising new motif for oboe and bassoon, which Bach marked {{lang|it|cantabile}}.{{sfn|Loy|2013}}{{sfn|Dürr|Jones|2006|p=297}} {{lang|de|Am Abend aber desselbigen Sabbats}} is the only cantata in the second cycle to begin with a sinfonia.{{sfn|Mincham|2010}}

==== 2 ==== The Bible quote "{{langr|de|Am Abend aber desselbigen Sabbats, da die Jünger versammlet}}" (On the evening, however, of the same Sabbath, when the disciples had gathered){{sfn|Dellal|2025}} is sung in recitative by the tenor as the Evangelist, accompanied by the continuo in repeated fast notes, possibly illustrating the anxious heart beat of the disciples when Jesus appears: "On the evening, however, of the same Sabbath, when the disciples had gathered and the door was locked out of fear of the Jews, Jesus came and walked among them".{{sfn|Loy|2013}}{{sfn|Dürr|Jones|2006|p=296}}

==== 3 ==== In the third movement, "{{langr|de|Wo zwei und drei versammlet sind in Jesu teurem Namen}}" (Where two or three are gathered together in Jesus's dear name),{{sfn|Dellal|2025}} an aria marked adagio, the repetition is kept in the bassoon, but the strings hold long chords and the oboes play extended melodic lines. According to Dürr, it may have been another movement from the same concerto on which the first movement relies.{{sfn|Loy|2013}}{{sfn|Dürr|Jones|2006|p=297}}

==== 4 ==== Bach composed the chorale text of the fourth movement, "{{langr|de|Verzage nicht, o Häuflein klein}}" (Do not despair, o little flock),{{sfn|Dellal|2025}} as a duet, accompanied only by the continuo, including bassoon. Fragments of the usual chorale theme, "{{langr|de|Kommt her zu mir, spricht Gottes Sohn}}", can be detected occasionally. Terry interprets that the bassoon obbligato was intended to accompany a chorale melody which "never actually sounded", conveying the "hiddenness" of the church in the world.{{sfn|Gardiner|2007}}

==== 5 ==== The bass sings a recitative, "{{langr|de|Man kann hiervon ein schön Exempel sehen an dem, was zu Jerusalem geschehen}}" (One can find a perfect message in what happened in Jerusalem).{{sfn|Dellal|2025}} It ends in an arioso, to prepare for the last aria.{{sfn|Dürr|Jones|2006|p=297}}

==== 6 ==== In "{{langr|de|Jesus ist ein Schild der Seinen, wenn sie die Verfolgung trifft}}" (Jesus is the shield of his own, when persecution follows them),{{sfn|Dellal|2025}} the bass is accompanied by the divided violins and the continuo. Felix Loy, the editor of a critical edition of the cantata for Carus, noted that the theme illustrates again a contrast, between the "restlessness of the world"{{sfn|Loy|2013}} and the "peace of those who believe in Jesus".{{sfn|Loy|2013}} While the instruments play in wild motion, the bass sings a calm expressive melody, only accenting the word "{{langr|de|Verfolgung}}" (persecution) by faster motion in long melismas.{{sfn|Loy|2013}}{{sfn|Dürr|Jones|2006|p=297}}

==== 7 ==== The chorale theme of Luther's chorale, "{{langr|de|Verleih uns Frieden gnädiglich, Herr Gott, zu unsern Zeiten}}" (Grant us peace graciously),{{sfn|Dellal|2025}} was published by Martin Luther in the {{lang|de|Kirchē gesenge, mit vil schönen Psalmen unnd Melodey}} (edited by Johann Walter, published in Nürnberg in 1531), and then in the {{lang|de|Geistliche Lieder}} by Joseph Klug (Wittenberg, 1535).{{sfn|Bacon|Allen|1884}} The melody of the additional stanza, "{{langr|de|Gib unsern Fürsten und all'r Obrigkeit Fried und gut Regiment}}" (Give our rulers and all lawgivers peace and good government),{{sfn|Dellal|2025}} was first published in {{lang|de|Das christlich Kinderlied D. Martini Lutheri}} in Wittenberg, 1566. Bach set it for four parts.{{sfn|Dürr|Jones|2006|p=297}}{{sfn|Dahn|2025}}

<score raw="1" vorbis="1"> \header { tagline = " " } \layout { indent = 0 \context { \Score \remove "Bar_number_engraver" } } global = { \transposition b \key fis \minor \numericTimeSignature \time 4/4 \set Score.tempoHideNote = ##t \set Timing.beamExceptions = #'() } \score { \new ChoirStaff << \new Staff << \new Voice = "soprano" { \voiceOne \relative c' { \global \partial 4 fis4 | fis fis eis fis8 gis | a4 gis fis\fermata a | b b cis8 b a4 | b2 cis4\fermata cis | cis b cis8 b a4 | b8 a gis4 fis\fermata fis8 gis | a4 a b a8 gis | fis2 fis4\fermata b | cis b fis8 gis a4 | gis8 fis gis4 fis4\fermata fis | fis e a b | cis8 b a4 b b | cis2\fermata d | cis4 b8 cis16 d b4. a8 | a2.\fermata cis4 | cis8 b a4 b8 cis d4 | cis2\fermata e4 cis | d cis8 b cis4 cis | d cis8 d e d cis4 | b2 a2\fermata | cis4 cis a b | a gis fis2 | e4 fis8 gis a4 fis | fis2.\fermata e4 | fis gis a gis | fis2. eis4 | fis2.\fermata \bar "|." } } \new Voice = "alto" { \voiceTwo \relative c' { \global \partial 4 cis4 | d d cis2 ~ | cis8 fis fis eis cis4 fis | e!8 fis gis4 a2 ~ | a8 gis16 fis gis4 a a | a eis8 fis gis4 fis ~ | fis e! dis dis8 eis | fis4 fis gis8 fis eis4 | fis8 e! d4 cis e | e e d8 e fis4 ~ | fis eis cis cis | cis cis d d | cis cis fis e | e2 b' | e,4 fis e e | e2. gis4 | a8 gis fis4 fis fis8 eis | fis2 gis8 b b a | a gis a gis a b cis4 ~ | cis8 b a4 e e | fis e8 d cis2 | e4 e fis fis ~ | fis e e d | cis d e d | d2. cis4 ~ | cis2. d8 e | fis4 gis8 a d,4 cis | cis2. } } >> \new Lyrics \lyricsto "soprano" { Ver -- leih uns Frie -- den _ gnä -- dig -- lich, Herr Gott, zu un -- _ sern Zei -- ten, es ist doch ja _ kein and -- _ rer nicht, der _ für uns könn -- te _ strei -- ten, denn du, uns'r Gott, _ al -- lei -- _ _ ne. Gib un -- sern Für -- sten und _ der Ob -- rig -- keit Fried und gut _ _ Re -- gi -- ment, dass wir _ un -- ter _ ih -- nen ein ge -- ru -- hig und stil -- les Le -- ben _ füh -- _ ren mö -- gen in al -- ler Gott -- se -- lig -- keit und Ehr -- _ _ bar -- keit. A -- _ _ _ _ _ _ men! } \new Staff << \clef bass \new Voice = "tenor" { \voiceOne \relative c' { \global \partial 4 a4 | a a gis8 b a gis | fis4 cis'8 b a4 cis | b e e4. d16 cis | b4 e e e | e8 d d4 cis cis | b b b b | cis d d cis8 b | a ais b4 a gis | a4 b8 cis d4 cis | cis4. b8 a4 a | a gis fis gis | a8 gis a4 a gis | a2 gis | a4 a a8 fis gis d' | cis2. cis4 | fis4. e8 d cis b gis | a!2 b4 e | e e8 d cis b a gis | fis gis a4 b a | a gis e2 | a4 a a d | cis b b2 | gis4 a8 b cis4 b | a2. a8 gis | fis4 b a b | a gis8 fis gis a b4 | ais2. } } \new Voice = "bass" { \voiceTwo \relative c { \global \partial 4 fis8 e | d4 cis8 b cis4 dis8 eis | fis b, cis4 fis fis | gis fis8 e a gis fis e | d4 e a, a'8 gis | fis4 gis8 fis eis4 fis8 e | dis4 e b b' | fis8 e d! cis b4 cis | d cis8 b fis'4 e | a gis8 a b4 a8 b | cis4 cis, fis fis8 gis | a b cis4 cis8 d cis b | a eis fis cis d b e4 | a,2 b | cis4 d e e | a,2. eis'4 | fis4. fis8 gis ais b4 | fis2 e4 e | e e8 e e4 e | e fis gis a | d, e a,2 | a8 b cis a d cis d e | fis4 gis8 a b2 | cis,4. b8 a4 b8 cis | d2. a'4 ~ | a8 gis fis eis fis4 b,8 cis | d cis b a b4 cis | fis2. } } >> >> \layout { } } \score { \new ChoirStaff << \new Staff \with { midiInstrument = "choir aahs" } << \new Voice = "soprano" { \voiceOne \relative c' { \global \tempo 4=68 \partial 4 fis4 | fis fis eis fis8 gis | \tempo 4=60 a4 \tempo 4=52 gis \tempo 4=34 fis8. r16 \tempo 4=68 a4 | b b cis8 b a4 | \tempo 4=60 b2 \tempo 4=34 cis8. r16 \tempo 4=68 cis4 | cis b cis8 b a4 | \tempo 4=60 b8 a \tempo 4=52 gis4 \tempo 4=34 fis8. r16 \tempo 4=68 fis8 gis | a4 a b a8 gis | \tempo 4=60 fis2 \tempo 4=34 fis8. r16 \tempo 4=68 b4 | cis b fis8 gis a4 | \tempo 4=60 gis8 fis \tempo 4=52 gis4 \tempo 4=34 fis8. r16 \tempo 4=68 fis4 | fis e a b | cis8 b a4 \tempo 4=60 b \tempo 4=52 b | cis4. r8 \tempo 4=68 d2 | cis4 b8 cis16 d \tempo 4=60 b4. a8 | a2 r4 \tempo 4=68 cis4 | cis8 b a4 \tempo 4=60 b8 cis \tempo 4=52 d4 | cis4. r8 \tempo 4=68 e4 cis | d cis8 b cis4 cis | d cis8 d e d cis4 | \tempo 4=60 b2 \tempo 4=52 a4. r8 | \tempo 4=68 cis4 cis a b | \tempo 4=60 a \tempo 4=52 gis fis4. r8 | \tempo 4=68 e4 fis8 gis \tempo 4=60 a4 \tempo 4=52 fis | fis2 r4 \tempo 4=68 e4 | fis gis a gis | \tempo 4=60 fis2. \tempo 4=36 eis4 | fis2. r } } \new Voice = "alto" { \voiceTwo \relative c' { \global \partial 4 cis4 | d d cis2 ~ | cis8 fis fis eis cis8. r16 fis4 | e!8 fis gis4 a2 ~ | a8 gis16 fis \tempo 4=52 gis4 a8. r16 a4 | a eis8 fis gis4 fis ~ | fis e! dis8. r16 dis8 eis | fis4 fis gis8 fis eis4 | fis8 e! \tempo 4=52 d4 cis8. r16 e4 | e e d8 e fis4 ~ | fis eis cis8. r16 cis4 | cis cis d d | cis cis fis e | e4. r8 b'2 | e,4 fis e \tempo 4=52 e | e2 r4 gis4 | a8 gis fis4 fis fis8 eis | fis4. r8 gis8 b b a | a gis a gis a b cis4 ~ | cis8 b a4 e e | fis \tempo 4=52 e8 d cis4. r8 | e4 e fis fis ~ | fis e e d8. r16 | cis4 d e d | d2 r4 cis4 ~ | cis2. d8 e | fis4 \tempo 4=52 gis8 a \tempo 4=44 d,4 cis | cis2. r } } >> \new Staff \with { midiInstrument = "choir aahs" } << \clef bass \new Voice = "tenor" { \voiceOne \relative c' { \global \partial 4 a4 | a a gis8 b a gis | fis4 cis'8 b a8. r16 cis4 | b e e4. d16 cis | b4 e e8. r16 e4 | e8 d d4 cis cis | b b b8. r16 b4 | cis d d cis8 b | a ais b4 a8. r16 gis4 | a4 b8 cis d4 cis | cis4. b8 a8. r16 a4 | a gis fis gis | a8 gis a4 a gis | a4. r8 gis2 | a4 a a8 fis gis d' | cis2 r4 cis4 | fis4. e8 d cis b gis | a!4. r8 b4 e | e e8 d cis b a gis | fis gis a4 b a | a gis e4. r8 | a4 a a d | cis b b4. r8 | gis4 a8 b cis4 b | a2 r4 a8 gis | fis4 b a b | a gis8 fis gis a b4 | ais2. r } } \new Voice = "bass" { \voiceTwo \relative c { \global \partial 4 fis8 e | d4 cis8 b cis4 dis8 eis | fis b, cis4 fis8. r16 fis4 | gis fis8 e a gis fis e | d4 e a,8. r16 a'8 gis | fis4 gis8 fis eis4 fis8 e | dis4 e b8. r16 b'4 | fis8 e d! cis b4 cis | d cis8 b fis'8. r16 e4 | a gis8 a b4 a8 b | cis4 cis, fis8. r16 fis8 gis | a b cis4 cis8 d cis b | a eis fis cis d b e4 | a,4. r8 b2 | cis4 d e e | a,2 r4 eis'4 | fis4. fis8 gis ais b4 | fis4. r8 e4 e | e e8 e e4 e | e fis gis a | d, e a,4. r8 | a8 b cis a d cis d e | fis4 gis8 a b4. r8 | cis,4. b8 a4 b8 cis | d2 r4 a'4 ~ | a8 gis fis eis fis4 b,8 cis | d cis b a b4 cis | fis2. r } } >> >> \midi { } } </score>

== Manuscripts and publication == Bach's autograph score of the cantata and a set of parts that Bach had revised are extant. The cantata was first published in 1860 in the first complete edition of Bach's work, the ''Bach-Gesellschaft Ausgabe''. The volume in question was edited by Wilhelm Rust.{{sfn|Loy|2013}}{{sfn|Bach Digital|2025}} In the ''Neue Bach-Ausgabe'', it was published in 1988, edited by Reinmar Emans, with a critical report the following year.{{sfn|Loy|2013}}{{sfn|Bach Digital|2025}}

== Recordings == A list of recordings is provided on the Bach Cantatas Website.{{sfn|Oron|2025}} Ensembles playing period instruments in historically informed performances are shown with a green background.

{| class="wikitable sortable plainrowheaders" style="margin-right: 0;" |- |+ Recordings of ''Am Abend aber desselbigen Sabbats'' |- ! scope="col" | Title ! scope="col" | Conductor / Choir / Orchestra ! scope="col" | Soloists ! scope="col" | Label ! scope="col" | Year ! scope="col" | Orch. type |- {{Cantata discography row | id = Ramin | title = ''Bach Made in Germany Vol. 1 – Cantatas IV'' | conductor = {{sortname|Günther|Ramin}} | choir = Thomanerchor | orchestra = Gewandhausorchester | soloists = {{plainlist| * Marianne Basner * Gerda Schriever * Gert Lutze * Otto Siegl }} | label = Berlin Classics | year = {{Start date|1953}} | orchestra_type = }} {{Cantata discography row | id = Shaw | title = ''Bach Aria Group – Cantatas & Cantata Movements'' | conductor = {{sortname|Robert|Shaw|dab=conductor}} | choir = Robert Shaw Chorale & Orchestra | orchestra = Bach Aria Group Orchestra | soloists = {{plainlist| * Eileen Farrell * Carol Smith * Jan Peerce * Norman Farrow }} | label = RCA Victor | year = {{Start date|1954}} | orchestra_type = }} {{Cantata discography row | id = Scherchen | title = ''J. S. Bach: Cantatas No. 42, No. 35'' | conductor = {{sortname|Hermann|Scherchen}} | choir = Wiener Akademie-Kammerchor | orchestra = Vienna Radio Orchestra | soloists = {{plainlist| * Teresa Stich-Randall * Maureen Forrester * Alexander Young * John Boyden }} | label = Westminster/Baroque Music Club | year = {{Start date|1964}} | orchestra_type = }} {{Cantata discography row | id = Harnoncourt | title = ''J. S. Bach: Das Kantatenwerk – Sacred Cantatas Vol. 3'' | conductor = {{sortname|Nikolaus|Harnoncourt}} | choir = {{ubl| Wiener Sängerknaben|| Chorus Viennensis }} | orchestra = Concentus Musicus Wien | soloists = {{plainlist| * soloist of the Wiener Sängerknaben * Paul Esswood * Kurt Equiluz * Ruud van der Meer }} | label = Teldec | year = {{Start date|1974}} | orchestra_type = Period }} {{Cantata discography row | id = Rilling | title = ''Die Bach Kantate Vol. 31'' | conductor = {{sortname|Helmuth|Rilling}} | choir = Gächinger Kantorei | orchestra = Bach-Collegium Stuttgart | soloists = {{plainlist| * Arleen Augér * Peter Schreier * Adalbert Kraus * {{nowrap|Philippe Huttenlocher}} }} | label = Hänssler | year = {{Start date|1981}} | orchestra_type = }} {{Cantata discography row | id = Herreweghe | title = ''J. S. Bach: Ich hatte viel Bekümmernis'' | conductor = {{sortname|Philippe|Herreweghe}} | choir = Collegium Vocale Gent | orchestra = La Chapelle Royale | soloists = {{plainlist| * Barbara Schlick * Gérard Lesne * Howard Crook * Peter Kooy }} | label = Harmonia Mundi France | year = {{Start date|1990}} | orchestra_type = Period }} {{Cantata discography row | id = Leusink | title = ''Bach Edition Vol. 4 – Cantatas Vol. 1'' | conductor = {{sortname|Pieter Jan|Leusink}} | choir = Holland Boys Choir | orchestra = Netherlands Bach Collegium | soloists = {{plainlist| * Ruth Holton * Sytse Buwalda * Knut Schoch * Bas Ramselaar }} | label = Brilliant Classics | year = {{Start date|1999}} | orchestra_type = Period }} {{Cantata discography row | id = Gardiner | title = ''Bach Cantatas Vol. 23: Arnstadt/Echternach'' | conductor = {{sortname|John Eliot|Gardiner}} | choir = Monteverdi Choir | orchestra = English Baroque Soloists | soloists = {{plainlist| * Gillian Keith * Daniel Taylor * Charles Daniels * Stephen Varcoe }} | label = Soli Deo Gloria | year = {{Start date|2000}} | orchestra_type = Period }} {{Cantata discography row | id = Koopman | title = ''J. S. Bach: Complete Cantatas Vol. 14'' | conductor = {{sortname|Ton|Koopman}} | orchestra = Amsterdam Baroque Orchestra & Choir | soloists = {{plainlist| * Deborah York * Bogna Bartosz * Jörg Dürmüller * Klaus Mertens }} | label = Antoine Marchand | year = {{Start date|2001}} | orchestra_type = Period }} {{Cantata discography row | id = Suzuki | title = ''J. S. Bach: Cantatas Vol. 36 (Cantatas from Leipzig 1725)'' | conductor = {{sortname|Masaaki|Suzuki}} | orchestra = Bach Collegium Japan | soloists = {{plainlist| * Yukari Nonoshita * Robin Blaze * James Gilchrist * Dominik Wörner }} | label = BIS | year = {{Start date|2006}} | orchestra_type = Period }} |}

== References == {{reflist | 20em }}

=== Cited sources === * {{cite web | url = http://www.bach-digital.de/receive/BachDigitalWork_work_00000057?lang=en | title = Am Abend aber desselbigen Sabbats (concerto da chiesa) BWV 42; BC A 63 | website = Bach Digital | date = 2025 | access-date = 23 April 2025 | ref = {{sfnref|''Bach Digital''|2025}} }} * {{cite book | editor1-last = Bacon | editor1-first = Leonard Woolsey | editor2-last = Allen | editor2-first = Nathan H. | title = Dr. Martin Luther's Deutsche Geistliche Lieder. ''The Hymns of Martin Luther set to their original Melodies with an English version'' | publisher = Hodder and Stoughton | date = 1884 }} * {{cite web | last = Dahn | first = Luke | url = http://www.bach-chorales.com/BWV0042_7.htm | title = BWV 42.7 | website = bach-chorales.com | date = 2025 | access-date = 23 April 2025 }} * {{cite web | last = Dellal | first = Pamela | author-link = Pamela Dellal | url = https://www.emmanuelmusic.org/bach-translations/bwv-42 | title = BWV 42 – Am Abend aber desselbigen Sabbats | website = Emmanuel Music | date = 2025 | access-date = 4 February 2026 }} * {{cite book | last1 = Dürr | first1 = Alfred | author1-link = Alfred Dürr | last2 = Jones | first2 = Richard D. P. | author2-link = Richard D. P. Jones | chapter-url = https://books.google.com/books?id=m9JuwslMcq4C&pg=PA295 | chapter = Am Abend aber desselbigen Sabbats, BWV 42 | title = The Cantatas of J. S. Bach: With Their Librettos in German-English Parallel Text | location = Oxford | publisher = Oxford University Press | date = 2006 | pages = 295–297 | isbn = 978-0-19-969628-4 }} * {{Cite AV media notes | last = Gardiner | first = John Eliot | author-link = John Eliot Gardiner | url = https://www.hyperion-records.co.uk/dc.asp?dc=D_SDG131 | title = Johann Sebastian Bach (1685-1750) / Cantatas Nos 42, 67, 85, 104, 112, 150 & 158 | publisher = Soli Deo Gloria (at Hyperion Records website) | date = 2007 | access-date = 27 April 2019 }} * {{cite book | last = Loy | first = Felix | translator-last = Eisentraut | translator-first = Marina | url = https://www.carusmedia.com/images-intern/medien//30/3104200/3104200x.pdf | title = Am Abend aber desselbigen Sabbats / And in the ev’ning of that very Sabbath / BWV 42 | publisher = Carus-Verlag | date = January 2013 | pages = 3–4 | access-date = 24 April 2025 }} * {{cite web | last = Mincham | first = Julian | url = http://www.jsbachcantatas.com/documents/chapter-42-bwv-4--42 | title = Chapter 42 Bwv 4 42 – The Cantatas of Johann Sebastian Bach | publisher = jsbachcantatas.com | date = 2010 | access-date = 20 August 2022 }} * {{cite web | last = Oron | first = Aryeh | url = http://www.bach-cantatas.com/BWV42.htm | title = Cantata BWV 42 Am Abend aber desselbigen Sabbats | work = Bach Cantatas Website | date = 2025 | access-date = 23 April 2025 }} * {{cite book | last = Wolff | first = Christoph | author-link = Christoph Wolff | chapter-url = https://books.google.com/books?id=NHpL3cQg0_UC&pg=PA253 | chapter = Mostly Cantatas | title = Johann Sebastian Bach: The Learned Musician | publisher = Oxford University Press | date = 2002 | isbn = 978-0-39-332256-9 | pages = 253–275 }} * {{cite book | last1 = Wustmann | first1 = Rudolf | last2 = Neumann | first2 = Werner | author-link = Werner Neumann (musicologist) | title = "Johann Sebastian Bach. Sämtliche Kantatentexte" Unter Mitbenutzung von Rudolf Wustmanns – Ausgabe der Bachschen Kantatentexte | publisher = Breitkopf & Härtel | location = Leipzig | date = 1956 }}

== External links == * {{IMSLP|work=Am Abend aber desselbigen Sabbats, BWV 42 (Bach, Johann Sebastian)}} * {{cite book | last = Dürr | first = Alfred | author-link = Alfred Dürr | title = Die Kantaten von Johann Sebastian Bach | year = 1981 | publisher = Deutscher Taschenbuchverlag | isbn = 3-423-04080-7 | volume = 1 | edition = 4 | pages = [https://archive.org/details/diekantatenvonjo0002durr/page/254 254–255] | language = de | url = https://archive.org/details/diekantatenvonjo0002durr/page/254 | ref = no }} * [http://allofbach.com/en/bwv/bwv-42/ Am Abend aber desselbigen Sabbats, BWV 42]: performance by the Netherlands Bach Society (video and background information)

Category:Church cantatas by Johann Sebastian Bach Category:1725 compositions