Ich hab in Gottes Herz und Sinn, BWV 92

{{Short description|1725 church cantata by Johann Sebastian Bach}} {{good article}} {{Infobox Bach composition | name = {{lang|de|Ich hab in Gottes Herz und Sinn}} | bwv = 92 | type = Chorale cantata | image = Paul Gerhardt.jpg | caption = Paul Gerhardt, author of the chorale text | occasion = Septuagesimae | performed = {{nowrap|{{Timeline-event|date={{Start date|1725|01|28|df=y}}|location=Leipzig}}}} | movements = 9 | chorale = {{based on|"{{langr|de|Ich hab in Gottes Herz und Sinn}}"|Paul Gerhardt}} | vocal = {{abbr|SATB|soprano, alto, tenor and bass}} choir and solo | instrumental = {{hlist| 2 oboes d'amore | 2 violins | viola | continuo }} }} '''{{lang|de|Ich hab in Gottes Herz und Sinn}}''' (I have given over to God's heart and mind),{{sfn|Dellal|2025}} '''{{abbr|BWV|Bach-Werke-Verzeichnis (catalogue of Bach's works)}}{{nbsp}}92''', is a church cantata by Johann Sebastian Bach for use in the Lutheran service. He composed the chorale cantata in Leipzig for Septuagesimae and first performed it on 28 January 1725. It is based on the 1647 hymn "{{langr|de|Ich hab in Gottes Herz und Sinn}}" by Paul Gerhardt, and is the only chorale cantata Bach based on a hymn by Gerhardt. The chorale revolves around faith in God and submission to his will. In nine movements, it is one of Bach's longer cantatas in terms of structure, text and music.

{{lang|de|Ich hab in Gottes Herz und Sinn}} belongs to Bach's chorale cantata cycle, the second cycle during his tenure as Thomaskantor that had begun in 1723. An unknown librettist retained, unusually for the format in this cycle, five stanzas of the chorale with unchanged text and using the hymn tune, in five different settings. Other stanzas were paraphrased into texts for alternating recitatives and arias, and two of the retained stanzas were expanded by explaining text. The cantata is scored for four vocal soloists, a four-part choir, and a Baroque instrumental ensemble of oboes d'amore, strings and basso continuo.

== History, hymn and words == When Bach composed the cantata, he was in his second year as Thomaskantor (director of church music) in Leipzig. During his first year—beginning with the first Sunday after Trinity 1723—he had written a cycle of cantatas for the occasions of the liturgical year.{{sfn|Wolff|2000}} In his second year he composed a second annual cycle of cantatas, which consisted exclusively of chorale cantatas, each based on one Lutheran hymn. It included {{lang|de|Ich hab in Gottes Herz und Sinn}}.{{sfn|Hiemke|2017}}

Bach composed the cantata for Septuagesima the third Sunday before Lent.{{sfn|Bach Digital|2025}}{{sfn|Dürr|Jones|2006|p=[https://books.google.com/books?id=m9JuwslMcq4C&pg=PA222 222]}} The prescribed readings for the Sunday were taken from the 'race for victory' in the First Epistle to the Corinthians ({{Sourcetext|source=Bible|version=King James|book=1 Corinthians|chapter=9|verse=24|range=–10:5}}), and the Parable of the Workers in the Vineyard ({{Sourcetext|source=Bible|version=King James|book=Matthew|chapter=20|verse=1|range=–16}}).{{sfn|Bach Digital|2025}}{{sfn|Dürr|Jones|2006|p=[https://books.google.com/books?id=m9JuwslMcq4C&pg=PA220 220]}} Bach had begun a chorale cantata cycle on the first Sunday after Trinity of 1724.{{sfn|Wolff|2000}} The cantata is based on "{{langr|de|Ich hab in Gottes Herz und Sinn}}", a hymn in twelve stanzas by Paul Gerhardt published in 1647;{{sfn|Bach Digital|2025}}{{sfn|Hofmann|2005}} Gerhardt is regarded as one of the most important Protestant hymnwriters.{{sfn|Hofmann|2005}} The chorale is sung to the melody of "{{langr|de|Was mein Gott will, das g'scheh allzeit}}".{{sfn|Hiemke|2017}}{{sfn|Chorale melody|2009}} The hymn is about submitting to God's will and maintaining faith in him.{{sfn|Hofmann|2005}}

An unknown poet retained five stanzas unchanged, in contrast to the usual format of the cycle to retain only the two outer stanzas. They are the first stanza for the first movement, the second for the second movement, the fifth stanza for the fourth movement, the tenth stanza for the seventh movement, and the twelfth stanza for the ninth and final movement. The librettist paraphrased ideas from the fourth stanza in the third movement, an aria, used phrases from stanzas 6 and 8 in the fifth movement, a recitative, ideas from the ninth stanza in the sixth movement, and elements from the eleventh stanza in the eighth movement. Additional interpolated recitative text was added to the chorale in the second and seventh movements, but without establishing a reference to the gospel.{{sfn|Wolff|2000}}{{sfn|Dürr|Jones|2006|p=[https://books.google.com/books?id=m9JuwslMcq4C&pg=PA226 226]}} The additional text for the second movement contains many biblical references,{{sfn|Dürr|Jones|2006|p=[https://books.google.com/books?id=m9JuwslMcq4C&pg=PA227 227]}} such as to Jonah and the Whale and to Peter the Apostle.{{sfn|Gardiner|2009}}

Bach led the Thomanerchor in the first performance of the cantata on 28 January 1725.{{sfn|Bach Digital|2025}} Bach's manuscript of the score and the parts of that performance are extant.{{sfn|Wolff|2000}}

== Music == === Structure and scoring === Bach structured {{lang|de|Ich hab in Gottes Herz und Sinn}} in nine movements. Both the text and melody are retained in five movements, a chorale fantasia, two recitatives, a one-part chorale, and the four-part closing chorale. Bach scored the work for four vocal soloists (soprano (S), alto (A), tenor (T) and bass (B)), a four-part choir, and a Baroque instrumental ensemble of two oboes d'amore (Oa), two violin parts (Vl), one viola part (Va), and basso continuo.{{sfn|Bach Digital|2025}}{{sfn|Dürr|Jones|2006|pp=[https://books.google.com/books?id=m9JuwslMcq4C&pg=PA220 220–226]}} The duration of the cantata is given as 33 minutes.{{sfn|Dürr|Jones|2006|p=[https://books.google.com/books?id=m9JuwslMcq4C&pg=PA220 220]}}

In the following table of the movements, the scoring, keys and time signatures are taken from Alfred Dürr's standard work {{lang|de|Die Kantaten von Johann Sebastian Bach}}.{{sfn|Bach Digital|2025}}{{sfn|Dürr|Jones|2006|pp=[https://books.google.com/books?id=m9JuwslMcq4C&pg=PA220 220–226]}} The continuo, which plays throughout, is not shown.

{{Classical movement header | show_text_source = no | work = ''Ich hab in Gottes Herz und Sinn'' | instruments1 = Winds | instruments2 = Strings }} {{Classical movement row | id = m1 | number = 1 | title = {{langr|de|Ich habe in Gottes Herz und Sinn}} | type = Chorale fantasia | vocal = SATB | instruments1 = 3Ob | instruments2 = 2Vl Va | key = B minor | time = {{music|common-time}} }} {{Classical movement row | id = m2 | number = 2 | title = {{langr|de|Es kann mir fehlen nimmermehr!}} | type = Chorale and recitative | vocal = B | instruments1 = | instruments2 = | key = C minor | time = {{music|common-time}} }} {{Classical movement row | id = m3 | number = 3 | title = {{langr|de|Seht, seht! wie reißt, wie bricht, wie fällt}} | type = Aria | vocal = T | instruments1 = | instruments2 = 2Vl Va | key = B minor | time = {{music|common-time}} }} {{Classical movement row | id = m4 | number = 4 | title = {{langr|de|Zudem ist Weisheit und Verstand}} | type = Chorale | vocal = A | instruments1 = 2Oa | instruments2 = | key = {{nowrap|F-sharp minor}} | time = {{music|common-time}} }} {{Classical movement row | id = m5 | number = 5 | title = {{langr|de|Wir wollen uns nicht länger zagen}} | type = Recitative | vocal = T | instruments1 = | instruments2 = | key = | time = {{music|common-time}} }} {{Classical movement row | id = m6 | number = 6 | title = {{langr|de|Das Brausen von den rauhen Winden}} | type = Aria | vocal = B | instruments2 = | instruments3 = | key = D major | time = {{music|time|3|4}} }} {{Classical movement row | id = m7 | number = 7 | title = {{langr|de|Ei nun, mein Gott, so fall ich dir}} | type = Chorale and recitative | vocal = SATB S A T B | instruments1 = | instruments2 = | key = | time = {{music|common-time}} }} {{Classical movement row | id = m8 | number = 8 | title = {{langr|de|Meinem Hirten bleib ich treu}} | type = Aria | vocal = S | instruments1 = Oa | instruments2 = 2Vl Va | key = D major | time = {{music|time|3|8}} }} {{Classical movement row | id = m9 | number = 9 | title = {{langr|de|Soll ich denn auch des Todes Weg}} | type = Chorale | vocal = SATB | instruments2 = 2Oa | instruments3 = 2Vl Va | key = B minor | time = {{music|common-time}} }} {{End}}

=== Movements === Klaus Hofmann noted that the choice of chorale is surprising because it has the same tune as the base for the cantata of the previous week in 1725, {{lang|de|''Was mein Gott will, das g'scheh allzeit'', BWV 111|italic=unset}}.{{sfn|Hiemke|2017}}{{sfn|Hofmann|2005}} Bach shaped all five movements which cite the chorale in words and music differently. The melody appears in an interesting combination of phrases of different length, two measures alternating with three measures.{{sfn|Hofmann|2005}}

==== 1 ==== In the opening chorus, "{{langr|de|Ich hab in Gottes Herz und Sinn mein Herz und Sinn ergeben}}" (I have given over to God's heart and mind my own heart and mind),{{sfn|Dellal|2025}} the soprano sings the melody of the chorale as a {{lang|la|cantus firmus}} in long notes. The vocal parts are embedded in an independent orchestral concerto,{{sfn|Hofmann|2005}} in which the oboes d'amore alternate with the strings.{{sfn|Dürr|Jones|2006|p=[https://books.google.com/books?id=m9JuwslMcq4C&pg=PA226 226]}} The motifs of the lower voices are not taken from the hymn tune, but from the orchestra.{{sfn|Dürr|Jones|2006|p=[https://books.google.com/books?id=m9JuwslMcq4C&pg=PA227 227]}}{{sfn|Gardiner|2009}} The musicologist Julian Mincham noted the movement's "shimmering, translucent beauty, apparent from the very beginning".{{sfn|Mincham|2010}} Sven Hiemke, who published a critical edition for Carus-Verlag, noted that the movement is formally similar to the one on the same tune composed a week earlier, but has different character by a dance-like motif in both instruments and lower voices.{{sfn|Hiemke|2017}}

==== 2 ==== In the bass recitative, "{{langr|de|Es kann mir fehlen nimmermehr!}}" (It will never fail me!),{{sfn|Dellal|2025}} the singer switches between rendering the chorale tune and free recitative with elements of dramatic tone painting.{{sfn|Hiemke|2017}} John Eliot Gardiner, who conducted the Bach Cantata Pilgrimage in 2000, described the form, of the singer interrupting himself to add thoughts, as an "audacious experiment".{{sfn|Gardiner|2009}} The movement begins with a ritornelloderived from the hymn tune, which is used as accompaniment for the chorale phrases.{{sfn|Hiemke|2017}} The continuo for the free recitative is often lively, illustrating the text.{{sfn|Dürr|Jones|2006|p=[https://books.google.com/books?id=m9JuwslMcq4C&pg=PA227 227]}} "{{langr|de|mit grausem Knallen die Berge und die Hügel fallen}}" (with cracking and terrible crashing, the mountains and the hills must fall){{sfn|Dellal|2025}} is depicted with "very fast downward sequences into the depths – very similar to the depiction of the veil of the temple being torn asunder when Jesus dies" in the ''St John Passion'' and the ''St Matthew Passion''.{{sfn|Hofmann|2005}}

==== 3 ==== The tenor aria illustrates a dramatic text, "{{langr|de|Seht, seht, wie reißt, wie bricht, wie fällt}}" (See, see, how [it] is torn, how it breaks and falls).{{sfn|Dellal|2025}} The collapse of the "futile world" is illustrated by fast runs in the violins.{{sfn|Dürr|Jones|2006|p=[https://books.google.com/books?id=m9JuwslMcq4C&pg=PA227 227]}} Hofmann described it as a "truly bizarre contour of the vocal line" and "rhythmically disjointed orchestral writing".{{sfn|Hofmann|2005}} Hiemke described the continuo as "for the most part restricted to sixteenth-note arpeggios torn apart by rests".{{sfn|Hiemke|2017}}

==== 4 ==== The next chorale stanza, "{{langr|de|Zudem ist Weisheit und Verstand bei ihm ohn alle Maßen}}" (Furthermore, wisdom and understanding is his beyond measure),{{sfn|Dellal|2025}} is sung by the alto to an independent trio of the oboes and the continuo, with only the word "{{langr|de|traurig}}" (sad) rendered by chromatic lines in the oboes.{{sfn|Hiemke|2017}}{{sfn|Dürr|Jones|2006|p=[https://books.google.com/books?id=m9JuwslMcq4C&pg=PA228 228]}} The topic is God's wisdom, "{{langr|de|Zeit, Ort und Stund ist ihm bekannt, zu tun und auch zu lassen}}" (He knows the time, the place, the hour in which to act or not to act).{{sfn|Dellal|2025}}{{sfn|Gardiner|2009}}

==== 5 ==== A tenor secco recitative interprets the text "{{langr|de|Wir wollen uns nicht länger zagen}}" (We will no longer despair),{{sfn|Dellal|2025}} in which only the end, "Patience, patience!" is set as an arioso.{{sfn|Dürr|Jones|2006|p=[https://books.google.com/books?id=m9JuwslMcq4C&pg=PA228 228]}}

==== 6 ==== The bass aria, "{{langr|de|Das Brausen von den rauhen Winden macht, daß wir volle Ähren finden}}" (The roaring of the rough winds helps us find full ears of corn),{{sfn|Dellal|2025}} describes the "howling and raging of the rough winds", an image of the rough situation of a Christian, by "incessant movement" of both the voice and the continuo.{{sfn|Hiemke|2017}}{{sfn|Hofmann|2005}}

==== 7 ==== In the seventh movement, "{{langr|de|Ei nun, mein Gott, so fall ich dir getrost in deine Hände}}" (Well now, my God, so I settle comforted into your hands),{{sfn|Dellal|2025}} as in the second, the text alternates between the chorale text and free poetry. This time Bach alternates also the voices, the chorale being sung by the choir, to an "animated" continuo,{{sfn|Hiemke|2017}} and the recitative by the four soloists in the sequence bass, tenor, alto and soprano.{{sfn|Dürr|Jones|2006|p=[https://books.google.com/books?id=m9JuwslMcq4C&pg=PA228 228]}} The last line, "{{langr|de|und ich kann bei gedämpften Saiten dem Friedensfürst ein neues Lied bereiten}}" (And, with muted strings, I can prepare a new song for the Prince of Peace),{{sfn|Dellal|2025}} leads to the following aria.{{sfn|Dürr|Jones|2006|p=[https://books.google.com/books?id=m9JuwslMcq4C&pg=PA226 226]}}

==== 8 ==== The soprano aria expresses: "{{langr|de|Meinem Hirten bleib ich treu. Will er mir den Kreuzkelch füllen, ruh ich ganz in seinem Willen}}" ( remain faithful to my Shepherd. If he fills the cup of suffering for me, I rest completely in his will).{{sfn|Dellal|2025}} is graced with pizzicato strings and no organ chords,{{sfn|Dürr|Jones|2006|p=[https://books.google.com/books?id=m9JuwslMcq4C&pg=PA228 228]}} to which oboe d'amore and soprano perform a "graceful, dance-like melody and poignant ascending sixths and sevenths".{{sfn|Hofmann|2005}} Hiemle pointed at the pastoral music of the oboe, related to the text mentioning "shepherd".{{sfn|Hiemke|2017}} John Eliot Gardiner noted that in the "enchanting conclusion" on the words "{{langr|de|Amen: Vater, nimm mich an!}}" (Amen: Father take me up!),{{sfn|Dellal|2025}} "innocence, trust and fragility are all rolled into one".{{sfn|Gardiner|2009}}

==== 9 ==== The cantata is closed by a four-part setting of the chorale, "{{langr|de|Soll ich den auch des Todes Weg und finstre Straße reisen}}" (Even if I should journey upon the path of death and on dark highways).{{sfn|Dellal|2025}}{{sfn|Hofmann|2005}}{{sfn|Dahn|2025}}

== Manuscripts and publication == The cantata's autograph score and the parts have survived.{{sfn|Hiemke|2017}} The cantata was first published in 1875 in the first complete edition of Bach's work, the ''Bach-Gesellschaft Ausgabe''. The volume in which the cantata appeared was edited by Wilhelm Rust.{{sfn|Hiemke|2017}}{{sfn|Bach Digital|2025}} In 1956, the cantata was published in the ''Neue Bach-Ausgabe'', the second complete edition of Bach's works, where it was edited by Werner Neumann, with a critical report following in 1995.{{sfn|Hiemke|2017}}{{sfn|Bach Digital|2025}}

== Recordings == The selection is taken from the listing on the Bach Cantatas Website.{{sfn|Oron|2024}} Ensembles playing period instruments in historically informed performances are shown with a green background.

{| class="wikitable sortable plainrowheaders" style="margin-right: 0;" |- |+ Recordings of ''Ich hab in Gottes Herz und Sinn'' |- ! scope="col" | Title ! scope="col" | Conductor / Choir / Orchestra ! scope="col" | Soloists ! scope="col" | Label ! scope="col" | Year ! scope="col" | Orch. type |- {{Cantata discography row | title = {{lang|de|Bach Made in Germany Vol. 1 – Cantatas III}} | conductor = {{sortname|Günther|Ramin}} | choir = Thomanerchor | orchestra = Gewandhausorchester | soloists = {{plainlist| * Erika Burkhardt * Gerda Schriever * Gert Lutze * Hans Hauptmann }} | label = Eterna | year = {{Start date|1954}} | orchestra_type = }} {{Cantata discography row | id = Werner | title = ''Les Grandes Cantates de J. S. Bach Vol. 17'' | conductor = {{sortname|Fritz|Werner}} | choir = Heinrich-Schütz-Chor Heilbronn | orchestra = Württembergisches Kammerorchester Heilbronn | soloists = {{plainlist| * Emiko Iiyama * Barbara Scherler * Theo Altmeyer * Bruce Abel }} | label = Erato | year = 1972 | orchestra_type = }} {{Cantata discography row | id = Richter | title = ''Bach Cantatas Vol. 2 – Easter'' | conductor = {{sortname|Karl|Richter|dab=conductor}} | choir = Münchener Bach-Chor | orchestra = Münchener Bach-Orchester | soloists = {{plainlist| * Edith Mathis * Trudeliese Schmidt * Peter Schreier * {{nowrap|Dietrich Fischer-Dieskau}} }} | label = Archiv Produktion | year = {{Start date|1974}} | orchestra_type = }} {{Cantata discography row | id = Leonhardt | title = ''J. S. Bach: Das Kantatenwerk • Complete Cantatas • Les Cantates, Folge / Vol. 23'' | conductor = {{sortname|Gustav|Leonhardt}} | choir = Knabenchor Hannover | orchestra = Leonhardt-Consort | soloists = {{plainlist| * soloist of the Knabenchor Hannover * Paul Esswood * Kurt Equiluz * Max van Egmond }} | label = Teldec | year = {{Start date|1978}} | orchestra_type = Period }} {{Cantata discography row | id = Rilling | title = ''Die Bach Kantate Vol. 26'' | conductor = {{sortname|Helmuth|Rilling}} | choir = Gächinger Kantorei | orchestra = Bach-Collegium Stuttgart | soloists = {{plainlist| * Arleen Augér * Gabriele Schreckenbach * Aldo Baldin * Philippe Huttenlocher }} | label = Hänssler | year = {{Start date|1980}} | orchestra_type = }} {{Cantata discography row | id = Leusink | title = ''Bach Edition Vol. 5 – Cantatas Vol. 2'' | 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. 20: Naarden / Southwell / For Septuagesima'' | conductor = {{sortname|John Eliot|Gardiner}} | choir = Monteverdi Choir | orchestra = English Baroque Soloists | soloists = {{plainlist| * Miah Persson * Wilke te Brummelstroete * James Oxley * Jonathan Brown }} | label = Soli Deo Gloria | year = {{Start date|2000}} | orchestra_type = Period }} {{Cantata discography row | id = Koopman | title = ''J. S. Bach: Complete Cantatas Vol. 13'' | conductor = {{sortname|Ton|Koopman}} | orchestra = Amsterdam Baroque Orchestra & Choir | soloists = {{plainlist| * Deborah York * Franziska Gottwald * Paul Agnew * Klaus Mertens }} | label = Antoine Marchand | year = {{Start date|2000}} | orchestra_type = Period }} {{Cantata discography row | id = Suzuki | title = ''J. S. Bach: Cantatas Vol. 33 – BWV 41, 92, 130'' | conductor = {{sortname|Masaaki|Suzuki}} | orchestra = Bach Collegium Japan | soloists = {{plainlist| * Yukari Nonoshita * Robin Blaze * Jan Kobow * Dominik Wörner }} | label = BIS | year = {{Start date|2005}} | orchestra_type = Period }}

{{Cantata discography row | id = Lutz | title = ''J. S. Bach: Kantate BWV 92 Ich hab in Gottes Herz und Sinn'' | conductor = {{sortname|Rudolf|Lutz}} | choir = Vocal ensemble of Schola Seconda Pratica | orchestra = {{nowrap|Schola Seconda Pratica}} | soloists = {{plainlist| * Sibylla Rubens * Alexandra Rawohl * Julius Pfeifer * Peter Harvey }} | label = Gallus Media | year = {{Start date|2016}} | orchestra_type = Period }} |}

== References ==

=== Cited sources === * {{cite web | url = http://www.bach-digital.de/receive/BachDigitalWork_work_00000117?lang=en | title = Ich hab in Gottes Herz und Sinn BWV 92; BC A 42 | website = Bach Digital | date = 2025 | access-date = 16 February 2025 | ref = {{sfnref|Bach Digital|2025}} }} * {{cite web | last = Dahn | first = Luke | url = http://www.bach-chorales.com/BWV0092_9.htm | title = BWV 92.9 | website = bach-chorales.com | date = 2025 | access-date = 16 February 2025 }} * {{cite web | last = Dellal | first = Pamela | author-link = Pamela Dellal | url = https://www.emmanuelmusic.org/bach-translations/bwv-92 | title = BWV 92 – ''Ich hab in Gottes Herz und Sinn'' | publisher = Emmanuel Music | date = 2025 | access-date = 16 February 2025 }} * {{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=PA222 | chapter = ''Ich hab in Gottes Herz und Sinn'', BWV 92 | title = The Cantatas of J. S. Bach: With Their Librettos in German-English Parallel Text | location = Oxford | publisher = Oxford University Press | date = 2006 | pages = 222–228 | 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_SDG153 | title = Johann Sebastian Bach (1685-1750) / Cantatas Nos 18, 84, 92, 126, 144 & 181 | publisher = Soli Deo Gloria (at Hyperion Records website) | date = 2009 | access-date = 16 February 2019 }} * {{Cite book | last = Hiemke | first = Sven | url = https://www.carusmedia.com/images-intern/medien//30/3109200/3109200x.pdf | chapter = Foreword | title = Ich hab in Gottes Herz und Sinn / My spirit does in God abide / BWV 92 | publisher = Carus-Verlag | date = 2017 | page = 4 | access-date = 18 February 2025 }} * {{cite AV media notes | last = Hofmann | first = Klaus | author-link = Klaus Hofmann | url = http://www.bach-cantatas.com/Pic-Rec-BIG/Suzuki-C33c%5BBIS-SACD1541%5D.pdf | title = Ich hab in Gottes Herz und Sinn, BWV 92 / To God's heart and mind | publisher = Bach Cantatas website | pages = 5–6 | date = 2005 | access-date = 22 January 2013 }} * {{cite web | last = Mincham | first = Julian | url = https://www.jsbachcantatas.com/documents/chapter-37-bwv-92 | title = Chapter 37 BWV 92 Ich hab in Gottes Herz und Sinn / I have, to God's heart and mind (surrendered myself). | publisher = jsbachcantatas.com | date = 2010 | access-date = 24 August 2022 }} * {{cite web | last = Oron | first = Aryeh | url = http://www.bach-cantatas.com/BWV29.htm | title = Cantata BWV 92 Ich hab in Gottes Herz und Sinn | date = 2024 | website = Bach Cantatas website | access-date = 17 February 2025 }} * {{cite book | last = Wolff | first = Christoph | author-link = Christoph Wolff | url = http://www.bach-cantatas.com/Pic-Rec-BIG/Koopman-C13c%5BAM-3CD%5D.pdf | title = Chorale Cantatas from the cycle of the Leipzig / church cantatas, 1724–25 (III) | publisher = Bach Cantatas website | pages = 7, 11 | date = 2000 | access-date = 22 January 2013 }} * {{cite web | url = http://www.bach-cantatas.com/Texts/Chorale076-Eng3.htm | title = ''Ich hab in Gottes Herz und Sinn'' / Text and Translation of Chorale | website = Bach Cantatas website | date = 2006 | access-date = 21 January 2013 | ref = {{sfnref|Chorale text|2006}} }} * {{cite web | url = http://www.bach-cantatas.com/CM/Was-mein-Gott-will-das-gscheh-allzeit.htm | title = ''Was mein Gott will, das g'scheh allzeit'' / Text and Translation of Chorale | website = Bach Cantatas website | date = 2006 | access-date = 21 January 2013 | ref = {{sfnref|Chorale melody|2009}} }}

== External links == * {{IMSLP|work=Ich hab in Gottes Herz und Sinn, BWV 92 (Bach, Johann Sebastian)}} * [http://www.uvm.edu/~classics/faculty/bach/BWV92.html BWV 92 Ich hab in Gottes Herz und Sinn]: English translation, University of Vermont * [http://webdocs.cs.ualberta.ca/~wfb/cantatas/92.html BWV 92 Ich hab in Gottes Herz und Sinn]: text, scoring, University of Alberta

Category:Church cantatas by Johann Sebastian Bach Category:1725 compositions Category:Chorale cantatas Category:Works based on the Gospel of Matthew Category:First Epistle to the Corinthians